Love's Labours Lost: The Cambridge Dover Wilson Shakespeare (Cambridge Library Collection - Literary Studies)

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Cambridge Library CoLLeCtion Books of enduring scholarly value

Literary studies This series provides a high-quality selection of early printings of literary works, textual editions, anthologies and literary criticism which are of lasting scholarly interest. Ranging from Old English to Shakespeare to early twentieth-century work from around the world, these books offer a valuable resource for scholars in reception history, textual editing, and literary studies.

Love’s Labour’s Lost John Dover Wilson’s New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare’s plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as part of a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the ‘New Bibliography’. Remarkably by today’s standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson’s textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares. The reissue of this series in the Cambridge Library Collection complements the other historic editions also now made available.

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Love’s Labour’s Lost The Cambridge Dover Wilson Shakespeare Volume 18 William Shakespeare E di ted by John D over Wilson

C A m B R i D g E U N i V E R Si T y P R E S S Cambridge New york melbourne madrid Cape Town Singapore São Paolo Delhi Published in the United States of America by Cambridge University Press, New york www.cambridge.org information on this title: www.cambridge.org/9781108005906 © in this compilation Cambridge University Press 2009 This edition first published 1962 This digitally printed version 2009 iSBN 978-1-108-00590-6 This book reproduces the text of the original edition. The content and language reflect the beliefs, practices and terminology of their time, and have not been updated.

THE WORKS OF SHAKESPEARE EDITED FOR THE SYNDICS OF THE CAMBRIDGE U N I V E R S I T Y PRESS BY JOHN DOVER WILSON

LOVE'S LABOUR'S LOST

LOVE'S LABOUR'S LOST

CAMBRIDGE AT THE UNIVERSITY PRESS

I969

CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao Paulo, Delhi Cambridge University Press The Edinburgh Building, Cambridge CB2 8RU, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521094856 This edition © Cambridge University Press 1962, 2008 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First edition 1923 Second edition 1962 First paperback edition 1969 Re-issued in this digitally printed version 2009 A catalogue record for this publication is available from the British Library ISBN 978-0-521-07542-8 hardback ISBN 978-0-521-09485-6 paperback

CONTENTS PREFACE TO THE SECOND EDITION

PAGE vii

INTRODUCTION

xxiv

THE STAGE-HISTORY

lix

TO THE READER

lxii

TITLE-PAGE OF THE QUARTO OF 1598 (Reduced Facsimile)

1

LOVE'S LABOUR'S LOST

2

THE COPY FOR LOVE'S. LABOUR'S LOST, 1598 AND 1623

98

NOTES

136

GLOSSARY

190

PREFACE TO THE SECOND EDITION Since I edited the text of Love's Labour's Lost over thirty-five years ago, taking about two years over it I remember, I have scarcely given it a thought. For a serial editor of Shakespeare, being mortal, has to push on from play to play without looking back or even troubling much about his critics if he is to have any hope of getting through the canon. True, I imagined, as did the publishers, at the outset of the journey that it would not take more than ten or a dozen years, but I very soon came to realize the folly of that estimate. Nevertheless, thanks chiefly to good doctors, the long road has been traversed and the end is in sight: I shall never have to edit another play from the beginning. I can, therefore, turn back at last and reconsider some of the texts edited in salad days. As almost all the important advances in Shakespearian research, textual and exegetic, have been made from 1930 onwards I am surprised to find how little in the first edition of Love's Labour's Lost, published in 1923, is out of date in i960. I cannot hope for a like good fortune when I pass on to look at other plays edited in the twenties, and in this one, of course, a good deal of addition and excision has been needed. A brief account of those changes will be found in the following paragraphs.

I. The Text In the purely English portion I have ventured to introduce about half a dozen fresh emendations, most of them readings or conjectures taken from previous

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editors. Otherwise the text below is virtually that of the first edition, with two important exceptions: (a) The punctuation has been revised throughout, chiefly in order to rid the page of an ugly and, as I long ago came to realize, misguided notation by means of dots and dashes intended to represent a conjectured dramatic punctuation in the original manuscript. For these the traditional commas, semi-colons, colons, and full stops are now substituted. (J>) The Latin of Holofernes and his associates has been regularized,1 inasmuch as I have now reached the conclusion that the quarto's distortion of familiar tags from Lyly's grammar, the colloquies of Erasmus, etc. with which Shakespeare interlards their talk is far more likely to have originated in the printing office than to have been deliberately intended by the dramatist as a rather clumsy and often obscure device of heaping additional ridicule upon pedants already exceedingly funny without it. Only some half a dozen solecisms are in question, and every one can be explained either as an ordinary compositor's slip or as a simple misreading often stroke for stroke of the correct Latin form as written in the secretary hand. They are indeed best considered in the light of other misprints in the Latin, the correction of which by later folios or by Rowe are now accepted by all without question. Here are a few of the latter together with their corrections: Dictisima (Q), Dictynna (Rowe); dictinna (QJ, dictynna (Rowe); primater (Q), pia mater (Rowe); vir sapis (Q), vir sapit (F2); hominum (QJ, hominem (F3); gaudio (Q), gaudeo (F3); puericia (£)), pueritia (F2). Clearly the compositor and press-reader knew little or no Latin, or perhaps he knew that little which might prove even 1

The first stimulus in this direction came from the illuminating pages on Holofernes in J. A. K. Thomson's Shakespeare and the Classics (1952).

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more dangerous than none. The queer 'Dictisima', for example, looks like the superlative of some imagined adjective. Consider further the following scrap of dialogue in Q which is acknowledged to be thoroughly corrupt by all (5. 1. 24-9): (Peda.) ...it insinuateth me of infamie: ne intelligis domine, to make frantique lunatique? Curat. Laus deo, bene intelligo. Peda. Borne boon for boon presrian, a little scratcht, twil

seme. For this gibberish Alexander and Sisson, following Theobald, give us: [Hoi.) ...it insinuateth me of insanie: ne intelligis, domine? to make frantic, lunatic Nath. Laus Deo, bone intelligo. Hoi. 'Bone'?—'bone' for 'bene'. Priscian a little scratch'd: twill serve. Theobald was clearly right to emend 'infamie' since Holofernes is speaking of madness not infamy; but though 'infamie' is a very easy minim misreading of 'insanie', in view of the following, Q misprints of English words for example: Epithat' for 'epithet'; 'cennot' for 'cannot'; 'estetes' for 'estates', I see no reason why 'infamie' should not be similarly a misprint of the Latin 'insania' which would well accord with the pedant's diction elsewhere. As for 'ne intelligis' which Johnson wished to read 'anne intelligis' to make good Latin out of it, this I take to be a simple case of compositor's inversion, since, as Thomson observed, 'intelligisne domine' would give us 'what is by far the most probable form of the question in Latin'. 1 Inversion again will explain the first words that fall from Holofernes' lips which have perplexed everyone. 'The Deare was (as you know),' he tells the Curate, 1 Thomson, op. cit. p. 71.

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according to Q, 'sanguis in blood'. If, however, he says 'in sanguis, blood' he speaks dictionary-wise as he does when later in the same speech he says 'and anon falleth like a crab on the face of terra, the soil, the land, the earth', or as I think he does also in 'hangeth like a jewel in the ear of caelum, the sky, the welkin, the heaven'; for Greg is probably right in conjecturing that 'caelo' (Q 'Celo') is a misreading of 'celu'. And if that be granted the only serious crux left in the Latin is the first word of the quotation from Mantuan which the Q prints as 'Facile' when it ought to be 'Fauste'. Why in 1923 I wrote that this error could hardly have originated with a compositor I cannot now imagine. Certainly, having edited thirty or more plays in the meantime, I should regard it today as a very obvious example of misreading: a read as ci and st as // and set up as /. If, on the other hand, we suppose these errors are not compositorial, but intended as blunders on Holofernes' part, they make pretty poor fun. One cannot believe that some of them would have been intelligible or that any could have brought even a smile to the lips of a scholar, however 'judicious', in Shakespeare's audience. But, it may be objected, Shakespeare certainly makes Holofernes blunder once elsewhere; since he hums the hexachord in the wrong order, as Nathaniel reads Jaquenetta's letter.1 If so, such an elementary aberration would have been instantly detected and laughed at by most of the spectators in that musical age, and it may be that Shakespeare wished to demonstrate that a pedant with his spirits 'prisoned in the arteries' by 'leaden contemplation' could have no music in his soul. I leave the text, therefore, as the Q has it, though I suspect that here too the compositor may be responsible. He often omitted words elsewhere and at times after discovering the omission inserted them at the wrong point. If then 1

4. 2. 104

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he overlooked 'sol, la' as he first set the type, he may well have himself got the hexachord in the wrong order when he came to correct the forme. II. Topical Allusion* That this play, which did for the nineties of the sixteenth century something that Gilbert's Patience did for the nineties of the nineteenth, bristles with topical allusions has long been recognized; and the determined effort by Q and myself in the Introduction of 1923 reprinted below to bring the matter to a head, following a trail laid by Arthur Acheson twenty years earlier, has been followed in turn by a number of later critics. Of these the most notable seem to be: (1) O. J. Campbell, whose article entitled ' Lovers Labour's Lost restudied' in Studies- in Shakespeare, Milton and Donne (Macmillan Company, 1925), was written independently of our introduction; (2) Frances Yates, A Study of'Love's Labour's Lost', (Shakespeare Problems Series, 1936); (3) Muriel Bradbrook, The School of Night (1936); (4) Richard David: an edition o£ Love's Labour's Lost (New Arden Shakespeare, 1951); (5) Ernest A. Strathmann, Sir Walter Ralegh (Columbia University Press, 1951); (6) J. A. K. Thomson: sections on 'Love's Labour's Los? (pp. 66-77) and Chapman (pp. 183-76) in Shakespeare and the Classics (1952); (7) W. Schrickx, Shakespeare's Early Contemporaries: the Background ofthe Harvey-Nashe Polemic, and1 Love's Labour's Lost', (Antwerp, 1956); (8) Walter Oakeshott, The Qyeen and the Poet (i960). Ch. iv Raleigh and 'Love's Labour's Lost' is especially valuable, but reached me too late for full use. 1 The reader will do well to study vi-xi of the introduction before continuing

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Certainties are hardly to be looked for in this field, but each of these writers has either added to the possibilities or rendered some possibilities more probable. On the other hand, nothing so far advanced seems to run seriously counter to what was set forth thirty-three years ago in §§ V I - X I of our original Introduction or §§ C and D of the Note on the Copy, which may, therefore, be allowed to stand when supplemented by the modifications and suggestions to be now noted. Professor Campbell, for instance, made a new and important point when he observed that the characters in the underworld of Love's Labour's Lost were closely modelled upon the stockfiguresin the commedia delParte, figures familiar at that date upon every stage in Europe. Armado and Moth, Holofernes and Nathaniel, Costard and Jaquenetta would, therefore, have been accepted directly they entered as representing the traditional Braggart, Zany, Pedant, Parasite and Clowns (male and female). This enabled Shakespeare to give each or any of them speech or action that might suggest persons recognizable by the audience (or even different persons at different times) without necessarily incurring the risk of being charged with deliberately lampooning or caricaturing any one in particular. Moreover, as J. A. K. Thomson has well said, 'the portraits of a great artist are never mere caricatures, and for this reason, that a mere caricature is not a living man or woman. What the great creators do is to invent a living character, and then endow him with the more striking idiosyncrasies of the person satirized'. 1 And, above all, Shakespeare is jesting throughout; poking fun, not attacking :a his aim especially in the sub-plot is to keep his audience (a select one) in fits of laughter, tickle o' th' sere for anything he offers them; to excite hilarity, not hostility. Oscar Wilde no doubt 1 Thomson op. cit. p. 66. * Cf. Brad brook op. cit. p.' 154.-

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laughed with the rest at Bunthorne; and if he had enough humour, Raleigh might equally have laughed at Armado, except perhaps when Costard interrupts him at 5.2.670. This being so, there will be little or nothing about Raleigh's notorious 'school of atheism' for though Parsons' libel may have suggested the reference to 'the school of night' at 4. 3. 2 51, that was undoubtedly more directly inspired by Chapman's Shadow of Night. The audience, however, being it may be assumed, of the Essex party, would be familiar with Parsons' words and with rumours of the charges brought against Raleigh at Cerne Abbas. And it looks as if Shakespeare may have availed himself of this knowledge at two points. But the allusions were so distant, if intended, and so amusing, iftaken, as to be entirely devoid of malice.1 It follows, too, I think, that though Chapman was probably the rival poet of the Sonnets and the relations between him and Shakespeare can hardly have been cordial, and though his Shadow of Night probably suggested the groundwork of the whole play, he is never brought on to the stage in caricature. Shakespeare indeed was surely not the man to start a poetomachia. He had not even replied to Greene's outrageous attack of the year«-before except by a private and 'civil' expostulation with the editor of the pamphlet.2 Anyhow I feel confident that, if only on the principle that dog does not eat dog, there is no personal caricature of fellow poets in Love's Labour's Lost. Marlowe of course by 1593 was a 'dead shepherd', but there were other poets more or less associated with Raleigh and his circle; Matthew Royden for example, and Edmund Spenser. How easily the latter might have been made game of, had the dramatist wished! But one has only to voice the possibility to see that such a wish was out of the question. True, Moth I do not 1 See p. xiv, 5. 1. 45-6 and note 5. 2. 522. * See p. 61 in Shakespeare Survey, 4 (1951).

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doubt, 1 was intended to suggest 'young Juvenal, that biting satirist' Thomas Nashe. But Nashe hardly ranked as a poet and the portrait is rather complimentary than otherwise. Had the original recognized it on the stage he might have felt flattered. For he is represented as an ally, his function being to provide fresh occasions for laughter at the two principal butts, Armado and Holofernes. That Armado was intended to suggest Raleigh it is not necessary at this stage to argue further, since most of those who find any topicality in the play at all would now accept it as likely. Certainly the two critics who have devoted most study to him, Miss Bradbrook and Dr Oakeshott, have no doubt about it.2 They agree also in pointing out that the select audience would almost certainly have been aware before the play opened that Raleigh was somehow to figure in it, so that when the king in the first scene describes Armado before he appears as a refined traveller of Spain— A man in all the world's new fashion planted, That hath a mint of phrases in his brain: One who the music of his own vain tongue Doth ravish like enchanting harmony and so on, concluding How you delight, my lords, I know not, I, But I protest I love to hear him lie, Shakespeare was telling them what to expect, namely 'the dandy and planter of Virginia, spinner of travellers' 1

see below pp. xxxviii-xlii. It is true that Professor Strathmann is sceptical, but his interesting book is rather a treatise on freedom of thought under Elizabeth than a study of Raleigh himself. Its value for students of Love's Labour's Lost is that it shows the 'school of atheism' canard to have been much overstressed by critics. a

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tales', whose poem 'The Lie' must have been known to all.1 To make him a Spaniard and call him Armado four orfiveyears after he had helped to defeat the Armada of Philip II were excellent strokes, and others later in the play which the audience would be likely equally to appreciate are recorded in the notes. But the point which to my mind fixes Armado's cap most firmly upon Raleigh's head is the identity of the other 'arts-man' Holofernes. Miss Yates has argued that in Holofernes, the schoolmaster who enters talking like a dictionary and who quotes an Italian tag which John Florio had quoted in print, Southampton may well have been intended to see a reflexion of his Italian tutor, the said Florio. This suggestion, first made by Warburton, was brushed aside by Malone who pointed out that the young earl would hardly have relished this lampooning of his Italian teacher.2 Miss Yates shows, however, that Florio was an Italian Protestant imposed by Burghley, Southampton's official guardian, upon a Catholic household, and therefore hardly persona grata, so that a jest at his expense, so far from being resented, would be more likely to have provided welcome entertainment.3 Yet Holofernes, as Malone first noted, gets his name from Rabelais, where he acts tutor to Gargantua—not in Italian, but in Latin and particularly in mathematics. So that by equating Holofernes with Florio Shakespeare would have been suggesting that Southampton was a Gargantua. Is the young patron likely to have relished that} I think not. Raleigh, on the other hand, was to Englishmen of the nineties an obvious Gargantua, being an obscure Devonshire squire who within a few months after his arrival 1

Cf. Bradbrook, op. cit. pp. 154 f., and Oakeshott, op,

cit. p.107. a Boswell's Malone, IV, 482. 3 Yates, op. cit. p. 28.

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at court in 1582 had grown so great that the noblest in the land cowered beneath his insolent eyes. And behind Raleigh stood an obvious Holofernes, his mathematical tutor Thomas Harriot, one of the leading astronomers of the age. The Introduction of 1923 did not allow scope to develop the thesis that Harriot was Shakespeare's chief target when he put Holofernes on the stage. But my belief in it has grown stronger in the interval. For Harriot the friend of Chapman and Roydon, and probably of Marlowe, who was vulgarly reputed to be a 'conjurer' and the Master of 'Sir Walter Rawley's school of Atheism', forms a natural link between the 'great sophister-doctor, Master Tubal Holofernes' in Rabelais, and his namesake in Love's Labour's Lost. T h e Holofernes of the French classic teaches his pupil, among other things, 'the comport1 for knowing the age of the moon, the seasons of trie year, and the tides of the sea';* Harriot instructed his Gargantua in mathematics and astronomy because they were the key to navigation; and Shakespeare's pedant is ludicrously connected with astronomy by his readiness in solving the riddle about the age of the moon,3 while his description of his own genius as 'full of forms, figures, shapes, objects, ideas, apprehensions, motions, revolutions'4 would gain point if the 'spirit* he speaks of were that of a mathematician. Further, it is noteworthy that all three are described as teaching their pupils to spell backwards,^ which in Harriot's case glances at Parsons' accusation that in Raleigh's school of atheism 'the conjurer that is Master thereof taught his scholars 'to spell God backward'. 1

'A calendar or computation of astronomical data', O.E.D. 2 Rabelais (Urquhart's trans.), Bk. 1, ch. IV. 4 3 4. 2. 34 ff4- *• .73 ff5 Rabelais, op. cit.; L.L.L. 5. 1. 46; Parsons cited in Brad brook, op. cit. p. 12.

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But what finally convinced me that Shakespeare had Harriot in mind was what I had already found in 1922 as I turned over the pages of his mathematical papers in the British Museum. There are eight volumes of them, consisting mostly of arithmetical and geometrical (probably astronomical) calculations. Here and there however are to be found pieces ofdoggerel verse, one of which runs as follows: If more by more must needs make more Then lesse by more makes lesse of more And lesse by lesse makes lesse of lesse If more be more and lesse be lesse. Yet lesse of lesse makes lesse or more Use which is best keep best in store If lesse of lesse th'ou wilt make lesse Then bate the same from that is lesse But if the same thou wilt make more Then adde to it the signe of more The sign of more is best to use Except some cause the other choose For both are one, for both are true, Of this inough, and so adew.1

That this, evidently a riddle on Plus and Minus, is of Harriot's own composition is suggested by the alterations and interlineations in the manuscript, while the occurrence of a somewhat different version (dated, it may be noted, 23 November 1598), in a later volume of the papers2 suggests that he rather fancied himself as the author of this 'more or lesse' jingle. And can it be doubted that it had come Shakespeare's way or that he had it in mind when he composed Holofernes' octosyllabic epitaph on the 'pretty pleasing pricket' i Listen in particular to these lines: 1 a

Add. MSS. 6784, fo. 321 verso; Add. MSS. 6785, fo. 384 verso.

xviii

LOVE'S LABOUR'S L O S T Some say a sore, but not a sore Till now made sore with shooting If sore be sore, then L to sore Makes fifty sores o' sorel: Of one sore I an hundred make By adding but one more L

Are they not exactly what Harriot might be expected to write, if required to apply his muse to the chase ? He had only to harp upon 'sore' instead of'more' and the trick was done. It will be noticed too that the parody is scarcely less mathematical than the original. Finally—and this seems to me to place the Harriotreflexion beyond all reasonable doubt—both Holofernes and Harriot had a parson follower, disciple or parasite, called Nathaniel. One of the letters preserved among Harriot's papers congratulates him on his 'deserved good fortunes', is signed 'y rs ever in true fidelitie, Nath Torporley', and is addressed ' T o my very good frende Mr Thomas Hariots at Durha House', which as Durham House was Raleigh's town residence would seem to imply that Harriot had recently been accepted as his instructor and gone to live there, while it fixes the date as some time before Raleigh's fall from power and imprisonment in 1592. Moreover, it was written from Paris where the writer was acting as secretary to the celebrated French mathematician Francois Viete, and whence he returned to England in 1591 and soon after became like Harriot himself a pensioner of the 'wizard' Earl of Northumberland, another member of the School of Night: both mathematicians being given quarters apparently at Sion House, Isleworth, where the earl himself resided.1 And if as seems more than probable 1

For Torporley see Wood, Atkenae Oxonienses, I, 566. Cf. David, op. cit. (Introduction, p. xlvi), who accepts Harriot's reflexion in Holofernes.

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Harriot gave lessons at Ston House to young men wishing for instruction in mathematics, is not this one explanation of the reference to Holofernes educating 'youth at the charge-house on the top of the mountain' .?I So much for the underworld of the play, which has tended to receive a disproportionate share of critical attention, and to have set up, by attraction so to speak, distorted notions of the main plot. Ferdinand the king of Navarre and his three companions may have been intended, as some have thought, to suggest (very distantly) Ferdinando Stanley, Earl of Derby and King of Man, and the earls of Essex, Southampton and Rutland, all three young men in 1593 and hostile to Raleigh. And as the formation of stoical and platonic academies was a fashion in courtly circles at this date, a fashion set by Ficino at Florence in the mid-fifteenth century,2 it is quite possible that this group of Elizabeth's courtiers had for a time toyed with the idea of establishing such 'a little academe'. On the other hand there is no need to suppose any such thing, or even to suppose that the Raleigh circle had actually constituted itself into any formal association called, or aptly described, as the School of Night. The whole business may very well have been the creation of Shakespeare's fertile brain. Chapman's Shadow of Night, its pompous absurdities and the fact that some of its ideas were known by the Southampton circle to be shared by Harriot, if not by Raleigh himself, would have been enough to set that comic imagination awork. Stanley, whom Chapman mentions (in a dedicatory epistle to Roydon) with 'deepsearching Northumberland', and Sir George Carey, as 'profitably entertaining learning—to the vital warmth of 1

Cf. 5. 1. 79. * See Frances Yates's admirable monograph on The French Academies of the Sixteenth Century (1947)* and Schrickx, op. cit. ch. I.

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freezing science' (i.e. subsidizing poor scholars), may indeed have discussed Chapman's midnight-oil philosophy with the others and Southampton may have been for a time attracted by it, a hypothesis which would fit in with the reference in the Sonnets to the rival poet. But this is to beat the air. It is enough to realize that it was the age of such 'academic' coteries and that Shakespeare made glorious fun of them in the play that follows. III. ' The Copy for "Love's Labour's Lost", 1598' This section, like the Introduction, is left as it was in 1923, except for sub-section A and one or two trivial alterations elsewhere. Not that the remainder if drafted today would not be cut down, rearranged and expressed less confidently. But they retain a certain interest as a specimen of textual exploration thirty-five years ago and the main thesis, though later contested by eminent authorities, has never been disproved and has indeed been, revived and developed by Mr David in his New Arden edition. The only section I felt obliged to revise was the first, which is based upon the idea, generally accepted by scholars in the twenties, that author's manuscript and theatrical prompt-book were often if not generally identical, an idea first shown by McKerrow to be mistaken in a couple of articles published in 1931 and 19 3 5 .x At the same time it should not be forgotten that a prompter may leave jottings in the author's draft as he reads it through in preparation for the construction of his own 'book', a possibility also not recognized in 1923.* As for the variants between Q and F it is now clear that the explanation Professor Charlton furnished in 1

See my account of this in Shakespeare Survey, (1958), pp. 83-7. * See Greg, Editorial Problem (1942), pp. i24~5«

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1917 was all along the correct one. Even the most striking of them, the addition at the end of the play of the words 'You that way, we this way' is now accounted for as a Folio 'editor's desperate attempt to fit the final words of Q into the structure of the play'.1 Section B which was inspired by Pollard's work on Richard II represents my first serious attempt to get to grips with the compositors of Shakespeare's texts, and was followed up ten years later by the more elaborate study of the printing of the Second Quarto of Hamlet. Much has been written of late years upon Shakespeare's compositors, mainly in reference to the First Folio. But I do not know that anything has yet appeared which renders the little essay of 1923 out of date. Sections C and D, an attempt to relate the bibliographical anomalies of the Quarto to the copy, that is Shakespeare's manuscript, and to extract therefrom some clue as to the date or dates when the play was produced, have fared worse at the hands of critics. The facts, then fully elucidated for the first time, have not been questioned. But whereas to me they seemed best explained on the assumption of a play first drafted, probably for a private performance, round about 1593 and 1594, and later revised for the court performance at Christmas 1597 mentioned on the quarto title-page, Chambers could see no reason to suppose such a revision. He 1

Greg, Shakespeare's First Folio (1955). He adds in a

footnote ' On the strength of this [addition] Wilson makes the surprising suggestion that F was printed from a copy of Q that had been used as a prompt book: it is, of course, inconceivable'. It is inconceivable now, but was it, even to Greg, in 1923? Certainly Chambers as late as 1930 was attributing to a prompter the occurrence of actor-names in quarto and folio texts now known to be printed from Shakespeare's foul papers. See his William Shakespeare, I, P- 237.

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declared, for example, that the cancelled passages, etc., which I regarded as evidence for it 'can be just as well interpreted as false starts at the time of the original writing', a view with which Greg agreed.1 Furthermore, the argument I brought forward from 'confused and inconsistent speech-headings' has been weakened by the second of McKerrow's articles above mentioned, which established such irregularity as normal in Shakespearian drafts. Nevertheless, it cannot be denied that they are unusually prevalent in the Love's Labour's Lost of 1598 or that their presence is just what one would expect in a drastically revised text. Moreover, whereas Chambers puts the date at 1595, he admits that most of the numerous topical and literary allusions point to 1593-4 if not earlier, while it has since been discovered that the cuckoo-song in 5. 2 could not have been written before the appearance of Gerard's Herbal, which was entered in the Stationer's Register on 6 June 1597.* Clearly the last word in favour of revision has not yet been heard. Fortunately the problem, whatever be the solution finally accepted, has little or no bearing upon the task of an editor. What matters to him are the textual facts and they are not in dispute. Section E repeats the 'Note on the Folio Text' in the first edition. IV. Notes and Glossary Both these have been revised and the Glossary considerably enlarged, my special thanks as regards textual points in the former being due to the ever generous Mr Maxwell and as regards the latter to Mr David 1

Chambers, William Shakespeare, I, 333 5 Greg, Editorial Problem, p . 127; and The Shakespeare First Folio, p . 222. 2 See note on 5. a. 890-907.

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whose store of exegetic notes in the New Arden edition I have freely plundered. A good deal of the theorizing about the details of revision which appeared in 1923 have been removed from the Notes, not necessarily because I now consider it incorrect or far fetched, though some of it may be, but because it took up a disproportionate amount of space and was at best highly speculative in character.

J.D.W. i960

Postscript. As this goes to press there reaches me Shakespeare's Rival by Mr Robert Gittings who seeks to shift the problem on to an entirely new basis by claiming Armado as a caricature of (a) Antonio Perez, (b) Gervase Markham, and the latter as the rival poet of the Sonnets. It was, I think, unfortunate for him that his book appeared almost simultaneously with Dr Oakeshott's The Queen and the Poet, the most important treatment of the subject yet published.

INTRODUCTION I Critics have dealt harshly with Love's Labour's Lost, and commentators—it may be for that reason—neglectfully. ' In this play,' says Johnson, 'which all the editors have concurred to censure, and some have rejected as unworthy of our Poet, it must be confessed that there are many passages mean, childish and vulgar; and some which ought not to have been exhibited, as we are told they were, to a maiden queen.' H e adds, however, a saving clause—'But there are scattered, through the whole, many sparks of genius; nor is there any play that has more evident marks of the hand of Shakespeare.' Dryden had classed it, in his Defence of the Epilogue, among the plays 'which were either grounded on impossibilities, or at least so meanly written that the comedy neither caused you mirth nor the serious part your concernment'—relegating, we assume, Love's Labour's Lost to the second of these categories. Hazlitt, the avowed impressionist, confesses, ' I f we were to part with any of the author's comedies it would be this'. T o the good Gervinus it 'gives the idea of an excessively jocular play': and even to Brandes Shakespeare seems here to bury himself in the follies he attacks and 'is still too inexperienced to realise how he thereby inflicts upon the spectator and the reader the full burden of their tediousness'. All this bewilders us who would, if only for its poetry, rank Love's Labour's Lost well above The Two Gentlemen of Verona or The Comedy of Errors, its nearest competitors among Shakespeare's juvenile efforts. But, though bewildered, we dissent point-blank, and specially from the epithet 'mean'. The combined

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weight even of two such giants as Dryden and Johnson cannot stamp that censure upon this pretty fable, lyrically told, always polite while most audacious. II We shall return to the critics; but leave them awhile, to deal with the learned editors and the theorists. Well enough we can distinguish between these—their methods and mental processes—as soon as they get to work upon. any given play. But in handling this one their methods and processes, still separable in kind, scarcely differ in degree of inutility. For the learned editors, confronted with one of the most puzzling texts in the whole canon, have commonly scamped it; dismissing it as immature stuff,' Euphuistic' or a parody of Lyly's manner, a thing thrown off in effervescence by a lad of genius who had yet to find himself. By verse-countings they prove that it is immature work indeed, worth their inattention: and on proving it immature, and its meaning consequently not worth attention, they bestow great pains, as we may exemplify by quoting from Furnivall's Introduction (or 'Forewords') to Griggs' facsimile of the Devonshire Quarto. Says he: The Comedy of Errors is the only play which can be earlier (original) work. Now as to metre, L.L.L. has 1028 rymelines to 597 blank-verse ones, nearly twice as many, 1 to -58; the Errors 380 rymes to 1150 blank, or 1 in 3-02. L.L.L. has only 4 per cent, of eleven-syllable lines, while the Errors has 12-3 per cent. (Hertzberg). L.L.L. has as many as 236 alternate rymes or fours, that is, 1 in 4-78; while the Errors has only 64, or one in every 18 lines. L.L.L. has 194 lines of doggerel, or one in 5-3 lines, while the Errors has 109, or 1 in every 10-55; L.L.L. has only one run-on line in 18-14, while the Errors has 1 in every 10-7. Further, L.L.L. has more Sonnets, and more eight- and six-line stanzas in the dialogue than the Errors.

xxvi

LOVE'S LABOUR'S L O S T

We neither dare nor care to dispute the arithmetic of all this; and in our General Introduction we paid full tribute of respect to those minute investigators who in the last century, by verse-counting and similar tests, did so much towards determining the chronological order of the Plays. Ifwe follow their processes, however, without extreme wariness in accepting their conclusions, we shall find ourselves trapped in a double fallacy. In the first place all this helpful arithmetic rests on the assumption—demonstrably absurd—that each play was originally written in the form in which it has come down to us: and secondly it proceeds on an assumption that a poet grows by mathematical rule, whereas we all know that he does nothing of the kind. Shakespeare, as he developed, might—nay, certainly did—tend to discard rhyme for blank verse, 'closed' lines for 'run-on' lines, and so on. But a poet is not only not an india-rubber plant, to be counted upon to throw out a certain proportion of leaves (or of'strong-endings') next year. He is an artist, and therefore incalculable; a man, and therefore a doubtful master of warring members: he and his art together are pent in 'the body of this death', and break prison on no scheduled permit but by fits and starts, just how and when they can. The artist essays, hits or misses, retreats to try afresh: •Or as the snail, whose tender horns being hit, Shrinks backward in his shelly cave with pain, And there all smother'd up in shade doth sit, Long after fearing to creep forth again. Moreover, being an artist in words, he unconsciously shapes his language to his theme. Romeo speaks verse, Falstaff prose, not because so many years separate them, but simply because Romeo is Romeo, Falstaff Falstaff, and Shakespeare all the while Shakespeare. T o argue therefore that Love's Labour's Lost, a lyrical fantasy,

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Xxvii

must be earlier than The Comedy of Errors, a farce of domestic intrigue copied out of Plautus, because it contains more lyrical lines, were as wise as to date Romeo against Hamlet by counting the corpses in the last act. Ifpressed, indeed, on this point, we should cite Berowne's great speech (4. 3. 286 ff) beginning 'Tis more than need. Have at you then affection's men at arms!... or.the King's sonnet (4. 3. 24 fF): Nor shines the silver moon one half so bright Through the transparent bosom of the deep, As doth thy face through tears of mine give light: Thou shin'st in every tear that I do weep, No drop but as a coach doth carry thee: So ridest thou triumphing in my woe.... and ask any reader to say if either The Comedy of Errors or The Two Gentlemen of Verona have anywhere a comparable resonance. Venus and Adonis has it—Venus and Adonis, published in 1593, to the close of which year we shall by-and-by assign, with reasons given, the first performance of Lovers Labour's Lost: and the Sonnets have it—even that inferior 'dark lady' series (CXXVII— CLII) which, with the group XXXIII-XLII, we shall give reasons for assigning to 1593 or thereabouts and tying up pretty closely with our play. But this is to anticipate.

Ill For the while we may content ourselves with knowing Love's Labour's Lost to be early work; and for this knowledge we have no need either to tax our own judgment between immaturity and maturity or to invoke arithmetic to our help: for we have direct evidence. We have only one Quarto of the play before the

xxviii

LOVE'S LABOUR'S L O S T

appearance of the 1623 Folio. But that Quarto bears the date 1598. Its title runs: A Pleasant | Conceited Comedle | called, | Loues labors lost. As it was presented before her Highnes | this last Christmas. | Newly corrected and augmented | By W. Shakespere. I Imprinted at London by W. W. | for Cutbert Burby. | 1598 —and this Quarto, whether or not set up from Shakespeare's actual manuscript, gives us our basic text, recognized as most authoritative by the Cambridge editors of 1863. ' T h e Folio edition,' they pronounce, 'is a reprint of this Quarto, differing only in its being divided into Acts.' The reader at pains to study our Note on the Copy will, we believe, discount this assertion somewhat and find that even with the Quarto we are by no means at the end of our troubles. Still the 1598 Quarto remains our text. The Folio corrects several obvious misprints, while omitting to correct others; and once at least (1. 1. 109) it massacres a good line, converting Clymbe ore the house to unlocke the little gate into That were to clymbe ore the house to unlocke the gate. But the prepollency of the Quarto over the Folio version may wait. For our present purpose we are back to the year 1598 and a version in that year published as 'newly corrected and augmented'. In that same year Meres mentions it along with the 'Sugred Sonnets,' in his famous list in Palladis Tamia\ and in that same year also Robert Tofte undoubtedly alludes to it in his Alba, or the Months Mind of a Melancholy Lover:

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xxix

Loues Labour Lost, I once did see a Play Ycleped so, so called to my paine, Which I to heare to my small Ioy did stay, Giving attendance on my froward Dame, My misgiving minde presaging to me 111, Yet was I drawne to see it gainst my Will. * * * * * Each Actor plaid in cunning wise his part, But chiefly Those entrapt in Cupids snare: Yet all was rained, 'twas not from the hart, They seemde to grieue, but yet they felt no care: 'Twas I that Griefe (indeed) did beare in brest. The others did but make a show in lest.

Editors have puzzled themselves over Tofte's first Loues Labour Lost, I once did see.... •" ne:

disputing whether by 'once' he meant 'on one occasion' or 'once upon a time' (i.e. 'some while ago'). But the question is idle, or at least not to be resolved upon this dispute. We are back upon 1598 anyhow and at the latest: and here for the moment let us set up our rest: anticipating our Note on the Copy—where questions of text and date are discussed in extenso—no further than to affirm (1) that the Quarto is indubitably a revision of an earlier draft—'newly corrected and augmented' as the title-page asserts;1 that(2) the original Love's Labour's Lost was written several years earlier; and that (3) in our opinion its first performance had Christmas 1593 for date and for place some great private house, possibly the Earl of Southampton's. 1

Of this the reader may, even at this point, satisfy himself within ten minutes by turning to Berowne's famous speech (4. 3. 286 f.) and to 5. 2. 813-18, and noting the passages we have bracketed. The first is instantly, the second after a short interval, repeated in more poetic language and with better effect. But see our Note on the Copy, pp. 105 ff.

xxx

LOVE'S LABOUR'S LOST IV

Nor need we spend much time here in hunting for the source or occasion of the plot itself; which is Shakespeare's very simplest, and may be by that virtue has walked past all ambushes of the researcher. The whole action passes before the park of a young King of Navarre, who would bind himself and three young lords— Berowne, Longaville and Dumaine—to fast for a space and study and, above all, to shut the gates against all womankind. The oath is taken, Berowne protesting that the whole of it will presently be forsworn. Straight upon it comes a Princess of France with three ladies and a male attendant, on an embassy to demand payment of some 200,000 crowns, alleged to be due from Navarre to her decrepit old father. T h e debt is denied, and indeed the play—or the text as we have it—leaves us in complete doubt as to the right of the claim. What immediately and for the rest of the story matters is, that this feminine embassy cannot gain admittance to Navarre's palace and its hospitality, but, on the terms of his oath, has to be lodged in a pavilion outside the park boundary. The ladies stoop to conquer. Actually the whole monastic academe crumbles in two days, each of the besieged lords finding himself already in love. For their vow's sake, and for shame, each must hide his plight from the others; and the ladies, masking themselves, tease their separate plights by puzzling them. Yet. the academe, while keeping up its show of austerity, must be courtly. A simple, country pageant is arranged for the guests; at the close of which the Princess receives news that her father is dead. Thereupon ensue gracious partings, injunctions, exchanges not without tenderness, yet austere. Love's labour has been lost for the while, since mourning in this world often interrupts it, perhaps for its good: but it shall be redeemed anon, we hope.

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xxxi

It was Joseph Hunter who first discovered that this visit paid by a Princess of France to Navarre may have some warrant in actual history. He quotes from the Chronique of Monstrelet (translated by Thomas Johnes, 1810) the following passage: Charles king of Navarre came to Paris to wait on the King. He negotiated so successfully with the King and Privy Council that he obtained a gift of the castle of Nemours, with some of its dependent castle-wicks, which territory was made a duchy. He instantly did homage for it, and at the same time surrendered to the King the castle of Cherburgh, the county of Evereux, and all other lordships he possessed within the kingdom of France, renouncing all claims and profits in them to the King and his successors, on condition that with the duchy of Nemours the King of France engaged to pay him two hundred thousandgold crowns of the coin of the King our Lord.

Here we have, to connect our play with an actual historical transaction, a debt by Charles VI, the crazy King of France, to Charles III, sovereign of Navarre, and the sum 200,000 crowns—and, beyond that, just nothing at all. Dates and names can in no wise be made to fit. Charles of France died in 1422, and there was no 'Princess of France' to be sent from his death-bed to dispute the debt: Charles of Aragon died three years later, and there was no 'Ferdinand, King of Navarre' to succeed him; his rule passing to a daughter, Blanche, who wedded with Aragon. So the whole, or almost the whole, of Hunter's 'discovery' passes away in smoke. So it might be allowed to pass and to fade. But according to Sir Sidney Lee (whose own speculations, started in The Gentleman''s Magazine (October 1880), have since been newly enlarged and corrected in his Life of Shakespeare) the smoke of this 'discovery' has obscured subsequent investigation. Sir Sidney would date the

xxxii

LOVE'S LABOUR'S

LOST

affair of Love's Labour''s Lost about a hundred-and-fifty years later than Hunter did: At the end of the year 1586 a very decided attempt had been made to settle the disputes between Navarre and the reigning King. The mediator was a Princess of France— Catherine de' Medici—who had virtually ruled France for nearly thirty years, and who now acted in behalf of her son, decrepit in mind and body, in much the same way as the Princess in Love's Labour's Lost represents her decrepit, sick and bed-rid father. The historical meeting was a very brilliant one. The most beautiful ladies of the court accompanied their mistress. 'La reine", we are told, 'qui connoissoit les dispositions de Henri a la galanterie, avoit compte sur elles pour le seduire ' This bevy of ladies was known as Vescadron •volant.... Upon this we might urge (1) that a father is not, whether decrepit or not, a son, and still less the son of a maiden Princess, and (2) that to present any action of Catherine de' Medici within contemporary memory of 1 586 as the action of the maiden princess of our play were about as sensible as to base Cranford upon the domestic life of Catherine of Russia. But Sir Sidney does undoubtedly hit, or get near, a mark, when he points out that Henry of Navarre had, for two of his chief generals, the Marechal Biron and the Due de Longaville. The third of the Lords attendant in Love's Labour's Lost—if by Dumaine we are to understand the Due de Maine (or de Mayenne)—was by no means one of Navarre's supporters. Still the coincidence of these four names—Navarre, Biron, Longaville, Dumaine— cannot be accidental. What, then, to a reader of the play does it imply? In our opinion it probably implies nothing at all that need historically bother any reader; and, to confirm this, we may merely leave Hunter, who started the trouble, to restore us to sanity. Says he:

INTRODUCTION

xxxiii

Whether such disputes [between France and Navarre] did really occur, and whether there was ever any embassy either by a Princess (which is not likely to have been the case) or by any other person for the purpose of composing them, is wholly immaterial; for suppose that the embassy was a part of genuine history, we soon drop all that is historical, and enter on what is only agreeable fiction —and what a blessing it were, could we simply 'leave it at that'! V But the reader can only reach this enjoyment today by deliberately skipping every passage that puzzles him; or if, on turning to the commentators and finding no help, he deliberately renounces further enquiry of his own. For a first or second reading this policy may be xecommended. But—and we speak as two readers who delight in this play and its poetry—in proportion as he attains to that enjoyment he will be teased by afterthoughts of meanings missed, and will long, to go back and solve them. For in Love's Labour's Lost, although the hopelessly corrupt passages number but some half a dozen (or about the average in any single play), those in which we feel that some undiscovered allusion may lurk beneath the words are frequent, those beneath which the like must lurk are not few; while the very characters—Armado, Moth, Holofernes, Costard—even Berowne and Boyet—haunt us as ghosts crying out to be embodied back into the actual men out of whom Shakespeare drew simulacra for his and his audience's sport. This makes an editor's task over Love's Labour's Lost extremely difficult, and even dangerous. He has plenty of warnings to bid him be prudent; since this play, neglected by serious scholars, has become like the Sonnets a happy hunting-ground for the unbridled theorist and the crank. Yet having a due sense of obligation to the L.L.L.-3

xxxiv

LOVE'S LABOUR'S L O S T

reader he has to tell himself that the old give-it-up method leads fatally nowhere and 'nothing venture' remains 'nothing have'. We propose, then, to seek and indicate some patches of firm ground amid the puzzles of this Elizabethan extravaganza, and to establish these, from which other adventurers may, if they will, make essay.

VI Now the first and dominant conviction at which we arrive on a rapid reading of the text is that Love's Labour's Lost was written as a topica/play; that it bristles throughout with topical allusions; and that most, if not all, of its characters were meant by Shakespeare to be portraits or caricatures of living persons. This may seem to be a bold opinion, since the peering inquisitiveness of many who would rifle the Sonnets for details of Shakespeare's private life provoked some great men of the last century—Browning, for example, and Matthew Arnold—to rear the grand countertradition of an impersonal artist who never unlocked his heart. We ask and ask—Thou smilest and art still, Out-topping knowledge. Well, this conception of a gigantic impersonal artist set aloft on a pedestal and smiling down with bland gaze upon our fret and fuss is mighty imposing. But Dr Samuel Johnson did not believe in that effigy. For example, in the early eighteenth century, while Shakespeare was still regarded as a human being, commentators freely speculated on the original of Holofernes, who of all the dramatis persons most obviously suggests a satirical portrait. Warburton attempted to identify him

INTRODUCTION

xxxv

with John Florio, and Johnson will have none of this guess. He is 'inclined to doubt the plausibility of Dr Warburton's conj ecture'. So much for the particular guess: but, when Warburton would smother it up with. the remark that in his opinion, however, there was in general 'very little personal reflection in Shakespeare', Johnson comes down on him boldly with ' I am not of the learned commentator's opinion that the satire of Shakespeare is so seldom personal'; and he adds: It is of the nature of personal invectives to be soon unintelligible: and the author that gratifies private malice animam in 'Exeunt'. 143. on a full stomach A quibble = (a) with a satisfied appetite, (b) with good courage (Charlton). 145. fellows i.e. servants. Armado's meanness towards his retinue is again insisted upon in 3. 1. 131 ff. Cf. also note 1.2. 33-4. 150. fast and loose See G. 156-7. in their words possibly with a quibble on 'wards'(Charlton). 159. S.D. Q 'Exit'. 170. Thefirstand second cause Cf. Rom. 2.4.2 5-6. Prof. Charlton {M.L.R. xn, 76-8) discovered the origin of this phrase in the following passage from The Booke of Honor anddrmes (1590), attributed to Sir Wm Segar: I say then that the causes of al quarrell wherevpon it behoueth to vse the triall of Armes, may be reduced into two: for it seemeth to me not reasonable, that any man should expose himselfe to the perill of death, saue onelie for such occasions as doo deserue death. Wherefore whensoeuer one man doth accuse another of such a crime as meriteth death, in that case the Combat ought to be granted. The second cause of Combat is Honor, because among persons of reputation, Honor is preferred before life (p. 22).

172. duello (F) Q 'duella' See G. 176. turn sonnet See G 'turn'. 177. Volumes in folio Cf. Raleigh's xith and last

I.I.

NOTES

145

Book to Cynthia [Oakeshott, p. 113]. S.D. Q 'Exit'. F reads 'Finis Actus Primus' after this. 2. I

S.D. (J.D.W.) Q 'Enter the PrincefTe of Fraunce, with three attending Ladies and three Lordes'. For Ros. cf. below notes 3. 1. 196, and text 4. 3. 244. I. dearest See G. 8. Aquitaine For an actual historical incident upon, which this 'embassy' was possibly based, see pp. xxxii, 127-8. 13. Good Lord Boyet etc. This_ speech is headed 'Queene.' in Q, though all other speeches by the Princess in the scene are headed.' Prin.'. Cf. pp. 112 f., Preface, p. xxii. 15-16. Beauty....chapmen's tongues See Introd. pp. xlvii ff. 32. Importunes (F) Q 'Importuous'. 34. visaged (F) Q 'vifa.ge\e:dmisprint. 36. S.D. Q 'Exit Boy'. 37-8. Who are.... virtuous duke ? Q prints as prose; seep. 122. 39. A lord. Lord Longaville (Cap.) Q 'Lor. LongauilP. The duplication of 'Lor.' in the MS. probably confused the comp. These 'Lords' of the Princess are very shadowy persons. 'Lor.' has two speeches, of three words each, in 2. I; 'her Lordes' are given a second entry in 4.1 (Head); in 5. 2 they are completely forgotten. 40. Maria. (Rowe) Q ' I Lady*. 44. parts (F) Q 'peerelfle'. Probably 'pertes' read as 'perles'; cf. 'pertake' Son. 149. 2, 'perticular' Ham. 2.1.12, etc. Alexander reads 'parts, peerless esteem'd'. For the F reading see p. 134. 47-8. gloss....g/oss (F) £> 'glofe....glofe\

146

NOTES

2.1.

49. too blunt a will i.e. 'too blunt in regard to the feelings of others, in that it is willing to spare none' (Furness), see G. 'blunt'. 56 Katharine (Rowe) Q '2 Lady'. 61. Alansotfs Q 'Alanfoes'. The Q gives us 'Alanfon' at 1. 193, and we prefer this anglicized form to 'Alencon'. 64. Rosaline (Rowe) Q ' 3 . Lad'. 66. but a merrier etc." i.e. although he is one of these students. 74. That aged ears etc. Cf. Sidney, Afologie for Poetrie (1595), 'with a tale forsooth he commeth unto you: with a tale which holdeth children from play and old men from the chimney corner'. 79. S.D. Q 'Enter Boyet'. 88-9. The Q text here runs as follows (cf. pp. 122— 3) = To let you enter his vnpeeled house. Enter Nauar, Longauill, Dumaine,'& Berowne. Bo. Heere comes Nauar. 88. unpeopled (F) Q 'vnpeeled'. The F reading (see p. 133) is undoubtedly correct, (i) There is no point in describing the house as 'unpeeled'; for if, as would appear, the word means 'unstripped' it makes nonsense, or if, as Onions maintains, the un- is intensive, it is still absurd, since why should Navarre strip his house because he has made a vow? (ii) The forms 'unpeeled' 'peeled' never occur elsewhere in Sh.; we have 'piel'd' ( = shaven) 1 Hen. VI, 1, 3. 30, Luc. 1167 and 'pyld' Merck. 1. 3. 81. (iii) 'unpeopled', i.e. without servants is exactly the meaning required, and finds a close parallel in Rick. II, 1. 2.68-9 'empty lodgings and unfurnished walls, I Unpeopled offices, untrodden stairs', (iv) ' peple' and' peeple' were not uncommon sixteenth-cent, spellings for 'people', and the/> might very easily have dropped out in this text; cf. p. 101.

2.i.

NOTES

147

98. by my will i.e. willingly. 99. it; will Q 'it will'. 113-25. Did I not dance etc. See pp. n6ff. 115—16. Hozo needless....question Q prints as one line. 117. spur See G. 126-64. Q heads all the King's speeches 'Ferd.' in this section; cf. headnote. For the possible historical basis of the dialogue, see pp. xxxi-xxxii, 116 f. 128. half of an (F) £> 'halfe of, of an'. 138. friendship (F) Q 'faiendfhip'. 140. demand (F) Q 'pemaund'—turned letter. 142. On payment (Theob.) £) 'One paiment', see Sh. Hand, p. 125. 143. Aquitaine, Q 'Aquitaine'. 153. unseeming to i.e. pretending not to. 159. special (F) Q 'fpciall'. 160. Charles his father The father of Henry of Navarre was Antony, Duke of Vendome, but his grandfather was Charles of the same duchy. 169. princess, within (Q) F 'princelTe, in* which, all edd. have followed. 176. Q heads the King's speech ' N a u \ S.D. Q'Eadt'. 177-91. Lady, 1will commend'etc. See pp. 116-24. 177. mine own (F) Q 'my none' Queen Elizabeth, herself used this form, and it occurs twice in a single sentence in a letter of hers dated 21 February 1549. Indeed it is not uncommon in MSS. of the period, and may well have been Shakespearian, though it is not found elsewhere in the Quarto. Furness sees in this spelling 'a proof that W. W. set up the Quarto by hearing and not by seeing'! 182. fool See G. 187. prick See G. 188. No point SeeG.

148

NOTES

2.1.

189. NowGodsavethy life because she is in his heart. 191. / cannot stay thanksgiving I cannot spare the time to return proper thanks for this unkind wish (David). S.D. £)'Exit' | 'Enter Dumaine'. 193. Katharine her name (Cap.) Q 'Rofaline her name', see pp. 116 ff. 194. S.D. Q 'Exit'. N.B. No entry is given for Longav'ille. 201. blessing on your beard References to a man's beard were considered insulting at this period. 202-3. Good sir....Falconbridge Q prints these as one line. 206. S.D. Q 'Exit Longauill' | 'Enter Berowne'. 208. Rosaline (Singer). Q' Katherin', see p. 116. 210. or so i.e. or something of the kind. 211. You are welcome (F) £) 'O you are welcome' Aldis Wright explains Q's superfluous ' O ' as the last letter of the speech-heading 'Bero.' which, had crept into the text, and he is assuredly correct. Many other instances are to be found in 3. 1 and 4. 3. Hart and Charlton object that Sh. may have been caricaturing some contemporary trick of speech, and that other characters frequently use the exclamation also. The reply to this is that it is with Berowne alone that the ' O ' so often seems superfluous, unnatural, and in verse unmetrical, which is not so with the others. You are welcome appears to mean 'You are welcome to go'. 212. Farewell to me etc. i.e. as we should say 'good riddance'. S.D. Q 'Exit Bero.'. 213-56. In this section, which may have been contained on one MS. page, we return to the 'Lady' speech-headings which we found at 11. 40, 56, 64. In the two intervening pages we have 'Mar.', 'ELath.' and 'Rof.' The difference undoubtedly has something to do with the history of the text.

2.i.

NOTES

149

213,217. Q gives these to ' Lady Maria' and ' Lady K.a.', which shows an attempt on the part of Sh., or the prompter, to sort out these 'Lady' parts. At 1. 219 and 1. 222 we get 'La.', 1. 220 'Lad.', 1. 252 'Lad.', 1. 253 'Lad. 2.', 1. 254 'Lad. 3.', 11. 255, 256 'Lad.'. 215, take him at his word i.e. give him word for word. Cf. Boyet's retort at 1. 212. 217. Two hot sheeps For some unknown reason many edd. follow F, and assign this to Maria. For the 'shipssheeps' quibble cf. Two Gent. 1. 1. 7 2 - 3 . .218. feed on your lips Cf. V.A. 232-3 'Feed where thou wilt, on mountain or in dale: Graze on my lips.' 221. common....several See G. 'several'. 224. This civil war of wits The only passage in the play which can be interpreted as a direct reference to the French wars 15 89-94. But cf. note 4 . 1 . 21-33. 233. the court of his eye We take 'the court' to be the keep of the castle to which 'behaviour', at first unarmed, retires in order to prepare for battle. 240. locked Q 'lokt'. 244. margent See G. 256. Rosaline, Ay, our (Rowe) Q ''Lad. I, our' Poss. this ' I ' is a misprint for ' 1 ' . S.D. Q 'Exeunt omnes'.

S.D. £>' Enter Braggart and his Boy'. F adds'Song', see pp. 129-130. Speech-headings in Q are 'Brag.' and 'Boy.' down to 1.68; after that, 'Ar.' and 'Pag.'. 3. Concolinel This seems to be the title of Moth's song, but no' one has been able to explain it. The word is probably corrupt; and the most plausible conjecture yet advanced is that it is a corruption of the Irish 'Can cailin gheaP, which is pronounced 'Con colleen yal' and means 'Sing, maiden fair' (see Furness, Fariorum,

150

NOTES

3.1.

and Notes and Queries, 11, xi, 36, 214, 276). Pistol in Hen. V (4. 4. 4) quotes the refrain from a popular Irish song,' Calen O custure me', which in the F text becomes 'calmie custure me'. 8-9. with a French brawl See G . ' brawl'. Moth explains himself in his next speech, but the expression was probably also intended to recall the riots of 1593 against the Frenchmen in London (Yates, p. 66). 11-21. No, my complete master....snip and away See p. xxxix. 14. throat as if (Theob.) £) 'throate, i f . 15. through the nose (F.2) Q 'through:nofe\ Type seems to have fallen from the chase at this point; cf. p. 101. 17. arms crossed See G. 18. thin-belly doublet Q 'thinbellies doblet', see G. 24. do you note me—that (Hanmer, Camb.) Q, F 'do you note men that'. 26. penny Q'penne'—possible misprint of 'pennie', Hanmer and all subsequent editors read 'penny'; and if Moth be Nashe (cf. pp. xxxviii, f.) 'penny' would be appropriate as glancing at his pseudonym 'Pierce Pennilesse' 27. But O—but O Love-lorn groans, David suggests. 28. the hobby-horse isforgot See G.'hobby-horse'. 3 0 - 1 . colt....hackney See G. 34. Negligent Q 'Necligent', see p. 100-01. 52. Ha? See G. 57. ingenious (F) Q 'ingenius'. 65. juvenal See pp. xxxviii, f. volable See G. Most edd. follow F 'voluble'. 68. S.D. Q'Enter Page and Clowne'. From henceforth Q speech-headings are 'Pag.' and 'Ar.\ 69. costard broken in a skin A jest. See G . 'costard'. 70 Venvoy See G .

3.i

NOTES

151

71. No eg?na etc. Cost, appears to take 'enigma, riddle, l'envoy' as the names of various salves. 'Riddle' is another form of'ruddle'; 'l'envoy' reminds him perhaps of'lenitive'; and 'egma' may suggest a concoction, of which eggs are an ingredient, no salve in the mail, sir (Malone) Q 'no Salue, in thee male fir'. For poss. ref. to the 'heavenly salves' brought the wounded Timias (Raleigh) by Belphoebe (Qu. Eliz.) in F.Q. in, v, 32-5, see Oakeshott, 112. 72. plain (F) Q 'pline'. 76. ridiculous See G. 79-80. is not l'envoy a salve? Moth quibbles, of course, upon 'salve' = salute. 84. The Fox, the Ape, and the Humble-bee For our attempted explanation see p. xxxvii. Dr Perne, a turncoat ecclesiastic, commonly figures as Fox in the pamphlet war; Martin was a common name for an ape. But Bradbrook (pp. 156-7) sees it as a bawdy allusion to Raleigh's secret marriage. 102. sell a bargain See G. 'bargain'. 109. ended the market See G. 'market'. 120. Frances (Cap.) Q 'Francis'. Apparently a typical name for a loose woman; cf. McKerrow, iv, 481, and O.E.D. 'frank' a? 2 b. 123. immured Q 'emured'. The sp., which recurs at 4. 3. 325, is perhaps Sh.'s. 127. set thee from Poss. 'free' om. 131-2. remuneration....dependents Cf. note 1. 2. 33-4133. S.D. Q 'Exit'. 134. ounce (F) Q 'ouce'. For 'incony' and 'Jew' see G. 137. three-farthings a single coin (of silver); cf. Sh. Eng. 1, 342-3. remuneration (F) Q 'remuration' What's the price etc. Costard's mind still runs on pedlars.

15Z

NOTES

3.1.

138. One penny Q 'i.d.'. 139. // carries it See G. 'carry'. 141. S.D. Q 'Enter Berowne'. 142. My good knave Q ' O my good knave'. Berowne has nine speeches in this scene, and Q begins seven of them with ' O ' . Cf. note 2. 1. 211. 169. eleven-pence Q 'a leuenpence'—which most edd. follow; but 'a leuen' is a Shakespearian spelling; cf. Sh. Hand, p. 126. 170. in print See G . ' p r i n t ' . 171. S.D. Q 'Exit'. I 2 7 ~7- Q divides ' O and I....whip! | Averie.... Conftable, | A domineering magnificent'. 175. critic Q 'Crietick'. 179. Signior Junior (Hart) Q 'fignior Iunios'. Most edd. follow Hanmer and read 'senior-junior'. The original 'signior', with a quibble of course upon 'senior', is surely far more effective. Cupid is not a 'senior' 185. O my little heart! Q ' (O my little heart.)' The brackets are expressive. 186. corporal of his field i.e. corporal of the 'great general', see G. 187. like a tumbler's hoop i.e. flauntingly, see G. 'tumbler's hoop'. 188. What I! I love! (Tyrwhitt; Malone) Q 'What? Iloue,'. 189. German clock (F2)Q'IermaneCloake',seeG. Cf. 'Iarman' (Sh.'s Addition to S.T.M., 128) Possibly 'Cloake' originated from the spelling 'clok.' N.B. £) gives us 'Clocks' at 5.2. 900. 195. whitely (F) Q 'whitly' see G. 196. pitch-balls Rosaline is a 'black beauty', i.e. with black eyes and black hair (cf. 4. 3. 244 f.), —an unfashionable complexion, since Queen Elizabeth was fair.

3 .i.

NOTES

153

203. sue (F2) Q 'fue'. Cf. 'shooter', 4. 1. 107. 204. Joan See G. and cf. proverb 'Joan's as good as my lady'. S.D. Q gives no 'exit'. 4.1 S.D. 'Enter the Princeffe, a Forrefter, her Ladies, and her Lordes'. The description of the 'hunt' is generally assumed to be connected with Queen Elizabeth's visit on 15-17 August 1591 to Cowdray, the house of Lord Montague, grandfather to the Earl of Southampton, and shortly afterwards to Titchfield, Southampton's own house, at both of which places 'standings' were prepared for her to shoot from at deer in a paddock (see Hart, pp. xlvi-1; Charlton, M.L.R. XIII, 391-2; Stopes, Earl of Southampton, pp. 45-8). And reference to these events would be more natural in 1593 than in 1597. But more significant, in our opinion, is the patent allusion, for so it seems to us, to the conversion of Henry IV, which became an accomplished and publicly acknowledged fact in July 1593 (see note 11. 21-33, below). 2. steep-up rising (Hart) Q 'fteep vp rifing'. Cf. G.,

Son. 7. 5, Pass. Pi/. 121. 6. O»(F) Q'Ore'. Probably Sh. wrote 'one'; cf. S/i. Hand, p. 125. 7. Then, forester'The 'Then' seems pointless. 21-33. saved by merit....the working of the heart This seems to be a direct allusion to the conversion of Henry IV. 'Merit' refers to the Roman doctrine of justification by works; while the 'heresy in fair, fit for these days' and the 'detested crimes' of which 'glory grows guilty' for 'fame's sake, for praise, an outward part' point unmistakably to the 'abominable act' as Elizabeth described it, by which Henry bought Paris at the price of a mass. Henry IV received 'absolution'

154

NOTES

4.1.

from the Archbishop of Bourges and heard mass publicly on 25 July 1 593. England received the news with consternation. The point of Sh.'s words would have been obvious any time during the next six months; though scarcely much later. 27. do't; Q 'doote'. 33. heart: Q'hart'. 36-40. Do not curst wives....stibdues a lord. This sudden reference to shrewish wives is curious and seems to have no relation to the context. In 5. 2. 69-78 we get an equally remarkable reference to a foolish husband. 36. Self sovereignty Q hyphens, cf. Schmidt and G 'self. 40. S.D. Q 'Enter Clowne'. 49. mistress Q 'Miftrs'. 55. carve See G. 56. capon See G. 59. break the neck still alluding to the 'capon' (J). S.D. Q 'Boyet reades'. 65. penurious (J. Munro < T.L.S, 15/9/47) Q, F 'pernicious'—a minim misprint. 66. Zenelophon See'King Cophetua and the Beggar maid' in Percy's Reliques, where the maid's name is given 'Penelophon'. This ballad was a favourite of Sh.'s and he refers to it no less than five times (cf. SLEng. 11, 519, 529). 67. anatomize Q 'annothanize'. Cf. 'anathomiz'd' Luc. 1450, All's 4. 3. 37, see p. 103. vulgar = vernacular. 68. came, saw (F2) Q 'came, See'. 69. saw, two (Rowe) Q 'fee, two', overcame, three (F3) Q 'couercame, three'. 74. the king's (F3) Q 'the King'. 86. Don Adriano de Armado Q 'Don Adriana de Armatho', see p. 137.

4.i.

NOTES

l

55

96. going o'er it The Princess quibbles upon 'stile'; cf. note 1.1. 199. 97. Armado (£)) This spelling, occurring between 'Armatho' spellings in 11. 86, 143, is to be noted, cf. Characters in the Play, p. 132. 98. Phantasime....Monarch See G. 99. S.D. 'beckons him aside'. It seems clear from Boyet's question at 1. 107 that the others do not hear the conversation between Cost, and the Princess. 105. mistaken See G. 106. ''twill....day Proverb = Your turn will come one day (David, citing N. & Q. 26 February 1910). S.D. £) gives no 'exeunt', F supplies one. 107. suitor. . . . suitor (Farmer) Q '(hooter. . . . {hooter'. The Q spelling, which gives the Shakespearian pronunciation, explains the point of the quibble. Cf. 3.1. 203 n. Furness cites Lyly,Euphues (Arber, p. 253) 'There was a Lady in Spaine....hadde three sutors" (and yet neuer a good Archer)'. 115. strikes at the brow See G. 'brow'. 120. the hit it A catch, to be sung dancing. The words appear to bear an equivocal meaning, see G. 'hit it'. Chappell quotes the tune in his Popular Music (P- 2 39)122. Guinever £) 'Guinouer'. 127. S.D. Q 'Exit'—after 1. 125, as being the only place where the comp. could find room for it. 128. fit it Can this be Costard's pronunciation of 'foot it'? Cf. 'vara fine' and 'pursents' (5. 2. 487-8). 129-35. mark, prick, mete at, wide oy the bow hand, clout, upshoot, cleaving the pin. For these archery terms see G. 129. hit it (F4) Q 'hit'. The comp. has no room for 'it' at the end of the line, and no room to overrun. 133. ne'er (F) Q 'neare'. Cf. 5. 2. 13 n. 135. pin (F 2) £)' is in '—caught from the previous line.

156

NOTES

4.1.

137. too hard (F) Q 'to hard'. 143—7. Armado fathetical nit! Dyce and Staunton point out that these lines are 'utterly irrelevant to anything in the scene'. We suggest the possibility that in the first version Armado and Moth appeared in 4. 1 to cut some capers with the Princess and her ladies, and that this passage was removed in 1597 and the letter substituted. Cf. note to 11. 60—92, above. 143. Armado to tffone side Q 'Armatho ath toothen fide'. We explain thus: Shakespeare wrote 'Arm ath toothon', inadvertently dividing 'Armath', so that the compositor took 'Arm' for the contraction and expanded it: 'toothon' became 'toothen' by an o:e misprint, and 'toothon' is not at all an impossible form, cf. 'toot' (5. 2. 145), 'doote' (4. 1. 27) and Sh. Hand, p. 141. 144. to bear her fan Peter is the cavalier who does this to the Nurse in Rom. 2. 4. 102. 146. 0' t'other Q 'atother'. 148. S.D. Q 'Exeunt. Shoot within'. Cf. 'mooting' = shouting at Cor. 1. 1. 213 (F). F2 first read 'Showte within'. 4.2

S.D. Q 'Enter Dull, Holofernes, the Pedant and Nathaniel'. 1-2. in the testimony of a good conscience Cf. II Cor. i. 12. The curate gives the sport his blessing; it is a godly one. 3. in sanguis, blood (Cap). Q, F 'sanguis in blood'. Cf. Preface, p. x. For 'in blood' see G. 'blood'. 5. caelum (Dyce). Q 'Celo'. Greg suggested to me that Sh. perhaps wrote 'Celu' but formed the last letter with its curl so carelessly that it looked like an 0. Cf. Florio, New World of Words (1611)' Celo. The heaven, the skie, the firmament, or Welkin'—too late for Sh.

4.2.

NOTES

157

8. epithets ' H e means synonyms....which are not sweetly varied in the least' (J.A.K.T. p. 68). 11. Sir Nathaniel = Reverend Nathaniel, see G. 'sir' 13—19. Most barbarous deer Hoi. complains'that he hast been interrupted by a repetition of his own words on the lips of an ignoramus. The complaint is however made obscure by the pedantry of its expression' (J.A.K.T. p. 68). 13. intimation Hoi., like pedants in all ages, loves to use words in their original sense; because it shows his learning. 'Intimation' < 'intimus' = 'innermost' probably means 'Thrusting into the very inside'. Similarly, 'insinuation' = 'insertion'; 'explication' = 'unfolding', i.e. explanation;'replication' = 'folding back or repeating'. Cf. J.A.K.T. p. 68. 14—17. as it were....or rather 'which translate quasi and vel potius indispensable words to the scholar'

(J.A.K.T. p. 69). 26-9. His intellect....than he Q prints this continuously as prose, and 11. 26-7 are prose. 29. Which we of taste and feeling are (Tyrwhitt) Q 'which we tafte, and feeling, are'. 30. indiscreet (F) Q 'indistreell'. 32. Many ...wind Cf. Tilley, W 220 'There is no weather ill when the wind is still'. Nath. pretends he gets this from one of the early fathers. Cf. 1. 155. 36. Dictynna Dictynna (Rowe) Q 'Dictifima.... dictifima'—y taken for i see 'Dictynna', and Preface, p. x. 36-41. Dictynna....fivescore Holofernes airs his astronomy. Cf. Preface, p. xvi. 38. Dictynna (Rowe) Q 'dictima'. Note how the misprint varies with the vagaries of Sh.'s spelling. 41. raught (Hanmer) Q 'rought'. 42. Th'allusion....exchange See G. 'allusion', 'ex-

158

NOTES

4.2.

change'. I.e. the riddle works when I use 'Adam', just as well as when you use 'Cain' (Warburton). 43. collusion See G. Dull is not perhaps so dull as Hoi. thinks. 47. pollution (Rowe) Q' polu lion '—a Shakespearian spelling, cf. Luc. 1157. 52. ignorant, I call (Collier) Q 'ignorault cald'. There seems to have been some typographical accident here. 53. Perge = Proceed—a Lat. word 'which must have been excessively familiar to Eliz. school boys'

(J.A.K.T. p. 69). 54. abrogate scurrility (F) Q 'abrogate fquirilitie'. For the spelling see O.E.D. For the meaning see G. and cf. 5. 1.4. We are not told why Nath. should fear 'scurrility' from Hoi., and the allusion seems to be a personal one. affect the letter i.e. practise alliteration. 57-68. The preyful....more L. Cf. Preface, p. xvii, for the object of the parody. 61. yell....''ell The current pronunciation made the quibble passable; cf. "ears' Errors, 4. 4. 29. 63. soreUl Q 'Sorell'. The Q reading, which edd. follow, leaves 'the people fall a-hooting' pointless. Hoi. ransacks the dictionary to find quibbles upon 'sore' and 'sorel'. 65. L to sore (Pope) Q 'ell to Sore'. 68. L (F) Q T . 70—1. claws....talent See G. 72 ff. From this point onwards in the scene the speech-headings 'Holo.' and 'Nath.' are constantly confused, see pp. — . Rowe first distributed the speeches correctly, simple, simple; £) ' fimple: fimple,'. 73-4. forms....revolutions See Preface, p xvi. 76. pi a mater (Rowe) Q 'primater'. 77-8. in whom (F) Q 'whom'. 79. the Lord ( F ) Q ' t h e L . ' .

4.2.

NOTES

159

83. ingenious (Cap.) Q 'ingenous'. Most edd. read 'ingenuous' suggested by F 'ingennous'. 85. vir sapit (F2) Q 'Vir fapis', see G. 86. S.D. Q 'Enter Iaquenetta and the Clowne'. 87-8. Master Person Q ' M . Perfon'. T o read 'Parson', as most mod. edd. do, is to blunt the edge of Hol.'s quibble. T h e two forms were interchangeable. 88. quasi pierce-one Q 'quasi Perfon'. Cf. 'peril' (1. 89) and 'perfing' (1. 91)—all three Shakespearian spellings. 89. pierced Q 'perft'. 90. likeliest (Q) Most edd. follow F and read 'likest', cf. O.E.D. 'likely' A 1., and see G. 92. Piercing a hogshead! (Clark and Wright) Q 'Of perfing a Hogshead', cf. p. n o . Hart first pointed out the parallel to this in G. Harvey's Pierce's Supererogation (1593),' She knew what she said that intituled Pierce, the hoggeshead of wit: Penniles, the tospott of eloquence: and Nashe the very inuentor of Asses. She it is that must broach the barell of thy frisking conceite and canonize thee Patriarcke of newe writers' (Grosart, 11, 91). But Crow [ap David] holds it to be common i6th-iyth cent, slang for 'getting drunk'. 95. Person £) 'parfon'. As Jaquenetta is still speaking of'Person' at 4. 3. 191, the £) reading here is probably wrong. 97. Arm ado Q 'Armatho'. 98-9. Fauste precor gelida quando pecus omne sub umbra Ruminat (F2) Q, F 'Facile precor gellida, quando pecas omnis subrvmbra ruminat'. See G. 'Fauste precor', etc. and 'Mantuan'. The opening line of the first eclogue of Mantuan, which was as familiar to Eliz. schoolboys as 'Arma virumque cano' is today, and Harvey (as David notes) in Foure Letters (1593) sneers at Nashe for quoting it: 'for his margine

160

NOTES

4.2.

is as deeplie learned as Fauste precor gelida.'' Thus the line is characterized 'as the one tag that even the worst of Grammar School dunces might be expected to remember'. Not that Hoi. /////quotes (as I thought in 1923). For 'Facile' is a simple misreading of'Fauste'. Cf. Preface, p. x and 11. 105, 126, below. 102-3. Venetia....pretia. (Theob.) Q 'vemchie, venche, que non te vnde, que non te perreche'. Sh.'s phonetic spelling (for the actor) and the comp.'s misreading will account for Q. N.B. this tag appears in Florio, First Fruites (1578), his Second Fruites (1 591) and in Sandford's Garden of Pleasure (1 598). cf. Yates, P- 34103. chi....pretia = Only those who do not see thee, do not praise thee. Had Sh. added 'and so forth' as he did in 1. 99, he might have reminded the audience of what follows, viz., 'but those who do see, only do so at great cost'—and so have implied that Hoi. had found Mantuan very difficult. 105. Ut....fa Hoi. airs his knowledge of music, but either he or the comp. blunders since the hexachord should run 'Ut, re, mi, fa, la' ('do' replaced 'ut' in the 17th cent.). Cf. Preface, pp. x-xi. Both Richmond Noble and Prof. H. O. White helped in this note. n o . stanze Q 'stauze'. Lege, domine. 'Another of those school formulas' (J.A.K.T.). 112—2 5. These lines were reprinted in The Passionate Pilgrim (1599). 115. Those....oaks = Those thoughts which to me were strong as oaks (i.e. the oaths). 116. study his bias leaves = the scholar forsakes his own line of studies, see G. 'bias'. 124. wrong Q (Devon) 'woug', see p. 101. 125. singe's Gollanz conj.) Q 'singes'. Cf. 'whales' at 5. 2. 332. But perhaps the comp., as often, omitted a word.

4.3

NOTES

161

126-7. You find not the apostrophus etc. Q gives these two lines to 'Pedan'. 126. apostrophus (O.E,.D.) Q 'apostrophas'. Hol.'s comment has puzzled critics. Clearly he is criticizing the way Nath. reads the alexandrines and I suggest that, with his usual roundabout philology (cf. 1. 13 n.), he means 'caesura', i.e. the turning-point of the line, since 'apostrophus' lit. = a turning away. But, as David notes, 'with his reputation for learning to keep up' Hoi. is bound to find fault, and 'any term, provided it sounds learned will do to confound the poor curate', which does not mean 'that the sonnet (or Nath.'s reading of it) is necessarily faulty'. Cf. Puttenham (ed. 1930), p. 7 3 : iOfCesure. There is no greater difference betwixt a civill and brutish vtterance than cleare distinction of voices....it is therefore requisit that leasure be taken in pronunciation.' Perhaps Nath. gabbles. He gets the lines metrically correct as 1. 128 indicates. 127. supervise 'Again Hoi. uses a word in its root sense' (David). 127. canzonet (Theob.) Q 'canganet'—a g:z misprint, not difficult with secretary script. 128. numbers ratified i.e. the verse is metrically correct. 130. Ovidius Q 'Ouiddius'. 132. invention? Imitari (Theob.) Q 'inuention imitarie'. 133. tired horse See G. ' tired'. 135. Berowne As he was not 'one of the strange Queen's lords', I read 'Boyet' in the 1923 ed. supposing 'Bo' misread as 'Be', but Jaqu. must have learned from Cost, that one of his letters was from Berowne and she might quite easily have associated him with the 'strange queen'. 139. intellect Far-fetched explanations have been given for this: we take it as one of Hol.'s pedantic

162

NOTES

4.2

quibbles; intellect = understanding = what stands under the letter = the signature. 140. party writing (Rowe) Q 'partie written'. 144. Sir Nathaniel (Capell) £) 'Sir Holofernes', see pp. 109—11. Q begins this portion of the speech with a fresh prefix, 'Ped.'. 150. forgive (F) Q 'forgine'. 153. S.D. Q 'Exit'. 157. colourable colours i.e. plausible pretexts. Apparently Hoi. entertains a poor opinion of the 'fathers'. But the point is not clear. 159. forthepen i.e. for the penmanship. Cf. 5.2.40. Hart quotes Lodge's Rosalynde (1590), ' " H o w like you this sonnet?" quoth Rosader. "Marry," quoth Ganymede, "for the pen well, for the passion ill'" (ed. Greg, 1907, p. 84). 161. before repast Q ' (before repaft)'. The brackets are expressive; Hoi. is offering Nath. a dinner, not merely inviting him in to say grace when all is over, as was the custom. 164. ben venuto; (Rowe) Q 'bien venuto', see G. 168. the text The curate claims patristic or biblical authority for his tritest remarks. Cf. 11. 32, 155. 172. S.D. Q 'Exeunt'.

4- 3

S.D. Q 'Enter Berowne with a paper in his hand, alone'. 1-2. The king etc. We follow Q arrangement here, since the line beginning 'The king he is' is clearly not prose, as Pope and all later edd. have printed it. Berowne, we suppose, comes on reading 'part of his rhyme' to which he refers at 1. 14.

4.3

NOTES

163

2. coursing myself Cf. Tw.Nt. 1. 1. 2 1 - 3 : That instant was I turned into a hart And my desires, like fell and cruel hounds, E'er since pursued me. 3. toiling in a pitch. Cf. 3. 1. 196 'two pitch-balls'-. 4 - 5 . set....said Cf. Cost, at 1. 1. 304. Sh. puts this to a different use at Lr, 2. 4, 54-6, 117-21. 7. mad as Ajax See G. 'Ajax'. it kills sheep Refers to the fierce fights between rams in the rutting season. 11. lie — keep on perjuring myself. 13, 14. melancholy Q 'mallicholie', see p. 103. 14. here Q 'heare', see p. 103 and Sh. Hand, p. 139. 18. in See G. 19. S.D. Q 'Heftandesafide. The King entreth.' From 11. 77-8, 172 we gather that Berowne is 'above' and not 'aside'. We suggest that the Q S.D. was written for a private performance on a stage without a gallery. 22. left pap Cf. M.N.D. 5. 1. 296-7 'left pap Where heart doth hop'. 27. night of dew i.e. 'night's allowance of tears' (Hart). 40 paper £) (Devon) 'pader'—a turned p. 41. S.D. Q 'Enter Longauill. The King fteps afide.' 45-6. wearing papers. See G. 'perjure', and cf. 1. 122 'from my forehead wipe a perjured note'. 47. In love I hope etc. Q assigns this to 'Long ; Rowe gives it to 'King'. 51. triumviry (Rowe) Q'triumpherie'. Cf.'triumpherate' Ant. 3. 6. 28. Interesting spellings! 51-2. corner-cap....Simplicity See G.'corner-cap', 'Tyburn', 'simplicity'. The 'corner-cap' Berowne has in mind is the 'black cap' of the judge. 57. shop See G. Theobald and most edd. read 'slop'. S.D. Q ' H e reades the Sonnet'. T h e 'sonnet' like

164

NOTES

.4.3

that of Berowne's in 4. 2 was reprinted in The Passionate Pilgrim (1599). 71. loose (Q) Most edd. read 'lose'. Sh. made no difference in the spelling of the two words, and is quibbling. Cf. 1. 358, below. 72. liver vein See G. 'liver'. 73. green goose See G . 73. idolatry (F) Q 'ydotarie'. 75. S.D. Q 'Enter Dumaine'. 76. ^//yizV, a//>izV/ Cf. ^ , 2, 3. 41 n. 83. £W/wWQ(Devon)'croporaH',seep. i o i a n d G . 84. Her amber hair etc. 'Her amber-coloured hair is so rich that it makes amber itself look ugly' (Charlton). hair (Cap.) Q 'heires'. 85. raven 'as a type of foul (fowl) in opposition to fair or amber' (Hart). 91. And I mine (Johnson) Q'And mine'. 92. Is not that a good word? = Isn't that kind of me ? [David]. See G. 'good word'. 96. saucers Commonly used by barber-surgeons of that day to catch the blood in phlebatomy [David]. 97. ode (F) Q 'Odo' See G. 08. S.D. Q 'Dumaine reades his Sonnet'. This 'sonnet' is printed both in The Passionate Pilgrim (1599), and England''s Helicon (1600). 104. can = 'gan See G. 106. Wished (F2) Q'wifli'. 108. Air, would! Johnson plausibly suggests'Ah, would I'. n o . thorn (Rowe) Q 'throne'. 115. whom e^en Jove (Rowe) Q'whom Ioue'. The line clearly lacks a syllable. 123. from my forehead....note See G. 'perjure'. 126. in love's....society Cf. Tilley, C 571 'It is good to have company in trouble'; Lucr. 790 'Fellowship in woe doth woe assuage'.

4.3

NOTES

165

128. 6'erheard'(F) Q 'ore-hard'. Cf. 5. 2. 95 n. 133. lay his....athwart The accepted posture of the conventional lover. Cf. 3. 1. 28, 180. 134. to keep....heart Cf. Lr, 2. 4. 54-6. 138. passion Q 'pashion'. The spelling recurs at 5. 2. 118. 144. i-W/i so infringed (S. Walker) Q 'Fayth infringed'. Many other conjectures. 146. leapt and laugh Cf 5. 2. 113-18. 153. coaches; in your tears (Hanmer) Q 'couches, in your teares\ Cf. 1. 32, above. 159. mote....mote Q 'Moth....Moth'. Cf. Ham. (Q2) 1.1. i r 2 . The name of Armado's page, Moth, has the same significance, we do not doubt. OTO#;£)'Moth,'. 166. Solomon Q 'Sallomon'. 174. to me....by you (Cap.) Q 'by mee....to you'. 178. moon-l'ike men, men of inconstancy (Kinnear conj.) Q 'men like men of inconftancie'. Other conjs are 'men-like men, of strange inconstancy' (F2, Johnson, etc.) 'moon-like men of strange inconstancy' (Warburton). Yet, if Sh. spelt 'moon' with one 0 the mistake would be easy. 180. Joan £> 'lone'. Q (Devon) 'Loue', see pp. 100-1. 'Joan' is clearly appropriate after 'groan' and was a favourite word with Berowne, cf. 3. 1. 204. 181—4. In pruning me. ...a limb Q prints these lines as prose. 186. S.D. Q 'Enter Iaquenetta and Clowne'. 187. present Onions glosses (with query) 'writing' (cf. the legal 'by these presents'), but the ordinary sense is apt. Simple folk often approached royal persons and other gentry with a present in hand. Cf. M.V. 2. 2. 97. ' I have brought him a present'. 192. Person See note 4. 2. 87-8. 193. Where hadst thou it? Q gives a second prefix 'King' to this.

i66

NOTES

4.3

S.D. £> ' H e reades the letter'. 196. Dun Adramadlo We retain the Q 'Dun', though it is probably just a Shakespearian spelling; cf. Ado, 3. 3. 105 n. 204. mess See G. 206. deserve to die The fate of pickpurses caught in the act. 209. sirs See G. 209. S. D. Q gives no 'exeunt'. 212. As true etc. Berowne is rebutting Costard's charge. 214. decree: Q 'decree'. 218. quoth you Capell omitted these words. Berowne's ecstasy perhaps accounts for the metrical irregularity of this line. 223. peremptory Q 'peromptorie'. 227-8. moon attending star This reference to a somewhat recondite astronomical phenomenon suggests that Shakespeare was interesting himself in astronomy at this period. For the scientific explanation see Sh. Eng. 1, 454. 245. wood divine (Theobald) Q 'word diuine'. The emendation is accepted by all. 252. dungeons If the School of Night be Raleigh's 'School of Atheism', 'dungeons' may be a sly hint at his imprisonment in 1592. Cf. Preface, p. xviii and Bradbrook, p. 164. 252. the School of Night Q 'the Schoole of night'. Many emendations proposed, e.g. scowl, stole, soul, soil, shade, scroll, shroud, suit. Acheson (Shakespeare and the Rival Poet, 1903) contended that Sh. wrote 'Schoole of night' and was referring to an actual coterie, for which presumably Chapman composed his Shadow of Night (1594), and upon which the 'academe' of Navarre is itself a satire; and we believe that this is in the main correct (see Introd. §§ x, xi and Preface,

4-3

NOTES

167

p. xi). It should be noted that the Q prints 'The hue of dungions, and the Schoole of night' as i f ' h u e ' and 'Schoole' balanced each other; but the punctuation of this text is quite unreliable and we have omitted the comma. 253. A beauty's (J.D.W.) Q 'And beauties'—a common comp.'s slip. Many attempts to explain Q, none satisfactory. Navarre is sarcastic: your beauty's crest, the badge of hell, etc. is one that ' becomes the heavens well' and is indeed much like 'the sun that maketh all things shine'. 254. Devils....light Cf. II Cor. xi. 14. 256. painting and (F'4) £)'painting'. 259-62. fashion....Paints itself black Perhaps an allusion to the fashion of wearing black masks. Cf. Rom. 1 1. 236-7, and Meas. pp. 101-3. 263. black (F) Q 'blake'. 265. their (J.D.W.) Q, F (+edd.)'of their', crack ( F 2 ) Q 'crake'. 277-8. 0 vile....overhead Bradbrook (p. 168) sees here 'an indecent adaptation of 11. 268—70 of Raleigh's Hymnus in Cynthian: 'those streams seem standing puddles which before | We savour beauties in.' 280, 286. Q begins both these speeches with ' O \ Cf. note 2. 1. 211. 292-314. And where....learning there See pp. 105-8. 302. prisons up (Theobald) £) 'poyfons vp'. Theobald's emendation, accepted by Clark and Wright, though rejected by most other mod. edd., is supported by 'nimblte' (1. 302) and by 11. 321-9, which we take to be Shakespeare's expansion of 11. 301-4 (note especially 'keep the brain', 'immured in the brain'). 303. The nimble spirits in the arteries See G . 'arteries', 'spirits'. L.L.L. -

15

168

NOTES

4-3

319. fiery numbers i.e. the passionate 'sonnets' and 'odes' just read aloud. 33i» 333. 335»34o» 347. 3S°» 357. 360. £> ends all these lines with a full stop. 331. gaze an eagle blind See G. 'eagle-sighted'. 333. heed of theft (J.D.W. < anon, ap Camb.) i.e. one listening intently for thieves. Q, F + edd. 'head of theft'. Cf. 1. 1. 82 Farmer cited Gent. 2. 1. 26 'To watch like one that fears robbing'. Here 'heed' is abstract for concrete. 'The lover's ear', etc. implies someone lying awake listening for another to come stealing into the house while parents or husband sleep. 334-5. Love's feeling....snails Seelntrod.p.xxvi,xlii. 341—2. Andwhen....harmony Because all the gods are lovers and music 'charmeth sleep', M.N.D. 4. 1. 72. 343-4. Never durst poet....Love's sighs Acheson quotes 11. 376-7 of Chapman's Shadow of Night, as a palpable parallel (cf. pp. xlix-1): No pen can anything eternal write That is not steeped in humour of the Night. 346. humility See G. 351. aught (Steevens) Q 'ought'. 355. that loves all men See G.'love'. 356. authors (Cap.) Q 'authour'. 358. Let us (F2) Q 'Lets vs' loose our oaths. Cf. notel. 71, above. 361. Cf. Rom. xiii. 8 'For he that loveth another hath fulfilled the law.' 364. standards (F) Q 'ftandars'. An indelicate quibble. 366. get the sun of them See G. 'sun'. 379. betime (Rowe) Q 'be time'. See G.'berime', 'time'. 380. Allans! Allons! (Theob.) Q 'Alone alone'— a common perversion of the period; cf. 5. 1. 14711.

4.3

NOTES

169

and Nashe: 'Alloune, alloune, let vs march' (McKerrow, HI, n o ) , sowed cockle etc. See G. 382. forsworn (F) Q 'forforne'. 383. copper See G. S.D. Q gives no 'exeunt'. F supplies it. 5- 1 S.D. Q 'Enter the Pedant, the Curat, and D u l l ' Speech-headings 'Ped.', 'Curat.' and 'Brag.' throughout the scene. See Preface pp. viii f. Hol.'s Latin. 1. quod (Rowe) Q ' q u i d ' . 7. entitled Q 'intituled'—a common 16th cent, spelling which all edd. have followed, taking it for an affected form. Cf. 'entituled' Luc. 57. 9. hominem (F 3) Q 'hominum'. The phrase 'novi hominem', etc. occurs in Lyly's Grammar under 'quasi' (A. H . Cruickshank, Nodes Shakespearianae, p. 48). 13. too spruce....too odd (F) Q 'to fpruce....to od'. 15. epithet (F) Q.'Epithat'; cf. notes 5.2. 171 and I. 2. 14. S.D. Q 'Draw-out his Table-booke'. 18. fanaticalphantasimes See G.'fanatical','phantasime' and cf. 4. 1. 98. 19. rackers of orthography Cf. Ado, 2. 3. 19—20 n.

Hol.'s theories on spelling are interesting in the light of what we know about Shakespeare's practice. Cf. Sh. Hand, pp. 122-4. 20. ldout' ~\sine b (Hertzberg conj.) Q 'dout fine'. In this text lost letters are very common (see pp. 100-1). 25. insania (Coll.) Q 'infamie'. The words that follow seem to make the emendation certain. Cf. Preface, p. ix. intelligisne (J.A.K.T. conj.) Q 'ne inteligis'. Johnson conj. 'nonne intelligio'. 27. bone, intelligo (Theob.) = good sir, I understand. G. 'bene, intelligo'. 28. Bone?—•'bone' for 'bene' (Theob) Q 'Borne

170

NOTES

5.1

boon for boon'. 'The curat, addressing with complaisance his brother pedant, says "bone" as we frequently in Terence find "bone vir", but the pedant, thinking he had mistaken the adverb, thus descants on it' (Theob.). J.A.K.T. misses this point. 29. S.D. Q 'Enter Bragart, Boy'. Cost, omitted. 30. venit Colloquial Lat., properly 'veniat'. Cf. J.A.K.T. p. 71. 31. gaudeo (F 3) Q 'gaudio'. 32. Chirrah £> 'Chirra'. J.A.K.T. (p. 71) explains as Arm.'s attempt at 'chaere' (^atpe) = hail—a greeting noted in Erasmus' Colloquies. 33. % * / v ( F 2 ) Q ' Q u a r i \ 38. alms-basket See G. 39. thy master Q 'thy M.\ 43. peal See G. Aposs. memory of the Sp. Armada's salvos. 45-6. he teaches....backward See G. 'horn-book', and Preface, p. xvi. 47. pueritia (F2) Q 'puericia'. 50. consonant See G. 51-2. The last....if lP. Theobald changed 'last' to 'third' and has been followed by edd. ever since. He asks 'Is not the last and the fifth the same vowel?' It is; and the vowel is 'u'! 'Whichever repeats them, says Moth, ''you are the silly sheep'. Shakespeare took care that the player should not miss the point, by writing 'you' with a 'Y', which both Q and F retain. 55. wave (F) Q 'wane'. 56. venezo Q 'vene we', see p 129 and G. 61. Horns Hoi. asks 'What is the figure?' (i.e. the metaphor, a rhetorical figure); Moth replies 'The horns of a dilemma' (a logicalfigure),leading up of course to 'cuckold's horn' (1. 66). 62. disputes Shakespearian 2nd pers. sing. Cf. Temp. 1. 2. 334, Meas. 3. 1. 20 n.

5.i

NOTES

171

65. manucita (David 'cennot'. 227. Twice to your visor etc. Cf. 2. 1. 121-2 'Now fair befall your mask', etc. There is some contemporary jest here, lost to us. 234-5. Q divides 'Seuenth fweete....cogg, He.... you'. 237. Gall See G. 2 3 9-40. Say you so fair lady. Q prints this in one line. Fair lord We presume that this meant much, what 'pretty gentleman' would mean today. 242, 244, 247, 248, 249, 253, 255. Q gives these speeches to Maria. Rowe first assigned them to Katherine. Possibly the compositor having begun with ' Mar.' at 1. 239 (which comes at-the top of a Q page) inadvertently continued; possibly the error was Sh.'s. 242-6. What, was your vizard....speechless vizard half 'This deft passage-at-arms....is really witty. The vizard was....made of black velvet on a leather base, it covered the entire features and was kept in place "by a tongue, or interior projection, grasped in the mouth' (W. J. Lawrence, letter in the T.L.S. 7 June 1923). 247. Veal i.e. 'excellent!' The 'Dutchman' pronounces 'well' thus, but Katherine is quibbling on 'veil' (= mask) of which 'veal' was a common sixteenth-cent, spelling and also upon Longaville's name. Her last word was 'long' and she now adds 'veal', thus exhibiting her 'double tongue' and affording the 'speechless vizard' the other half he speaks of. 249. FII not be your half Another quibble; half the. word 'calf is 'ca' which are the first two letters of Catharine, and 'half means 'wife'. Cf. Jul. Caes. I. I. 274.

5.2

NOTES

179

250. ox See G. 257. invisible, Q 'inuifible:'. 258. seen: Q 'feene,'. 259. sense: Q 'fence'. 261. bullets 'probably a prior word of the poet's changed for "arrows", left with it in his copy, and so printed together' (Cap.). This seems very likely. 264. S.D. £> 'Exe.'. 268. Wellrliking....fat i.e. well-liking as cattle ('breed') and fat as 'tapers'. 269. kingly-poor flout The Princess reverses Rosaline's quip: 'their wit shows poverty not fatness; it is king-ly-poor, not wel-ly-king.' 273. 0 , they were (F'2) Q ' T h e y were' Q prefixes 'Rofa.' to the line, which suggests that the 0 has here become absorbed in the prefix. For the reverse process see note 2. 1. 212. 275. out....suit See G. 'suit'. 279. perhaps (F) Q 'perhapt'. 297. vailing (F) Q 'varling', see G. 298. JvauntfperplexityRekrs to f What shall we do ?' 302. here Q 'heare',.see Sh. Hand, p. 138. 309. run o'er the land (F3) £) 'runs ore land*. S.D. Q 'Exeunt' | 'Enter the King and the reft'. 314. S.D. £)'Exit'. 317. wares Q 'wares:'.318. fairs: Q 'Faires,'. 321. pins the wenches etc. See G. 'pin*. 323. too (F) Q ' t o ' . 332. whale's (Alexander) Q 'whales'. Cf.4.2.125,11. 333. that will....in debt Cf. 1. 43. 336. Armada's Q 'Armathoes', see p. 137. S.D. £> 'Enter the Ladies'. 338. this man (Theob.) Q (+Camb.) 'this mad man'. T h e 'mad', which is metrically awkward and dramatically pointless, can be readily explained as due

i8o

NOTES

5.2

to the comp.'s eye catching the first syllable of'madam' which in the MS. would come just below the word 'man'. 341. Construe....speeches Q 'Confture....fpaches\ A Shakespearian spelling, followed by a misprint. 352 unsullied (F2) Q 'vnfallied'—-an a:u misprint, see Temp. p. xli, and Sh. Hand, p. 118. 369. talked apace See G. 373. dry See G. Cf.'thirsty'in 1. 372. my gentle sweet (Malone) Q 'gentle fweete'. F2 'fair gentle fweet', which most edd. follow; but after 'me' 'my' is a more likely word to have been omitted. 374. wit (¥2) Q'wits', foolish: Q 'foolifh'. 375. With Q 'Wtih'. 380. fool....full a quibble; Rosaline repeats it at 1. 384, 'the fool' being a pun upon 'thee full'. 389. Wezoere(Q) Most edd. follow F ' W e are'. 392. hold his brows e.g. with a wet handkerchief. Cf. K.John, 4. 1. 41-5. 407. affectation (Rowe) Q 'affection'. Rowe's reading makes better rhyme with 'ostentation' and has been adopted by most edd. Malone objected that as 'affection' has already been used for 'affectation' at 5. 1.4 k might be here; but the 'affection' at 5. I. 4. is itself an affectation, and elsewhere Sh. always distinguished between the two words in the modern fashion. 415. sans See G. 419. ''Lord have mercy on us' The warning inscription upon the door of a plague-stricken house, or pinned upon the winding-sheet of the dead body passing to burial. Hart notes 'As applied to the pestilence the benediction seems unknown earlier than the 1592-3 visitation'; Charlton (M.L.R. xm, pp. 389-91) argues that the reference is too frolicsome to have been penned in 1593 when the plague was at its worst; but cf. the tFirst Day' of the Decameron.

5.2

NOTES

181

423. the Lord's tokens See G. 'Lord's tokens'. A quibble, of course, upon the 'favours' or 'fairings' given by the lords to their ladies. 424-7. See 'free', 'state', 'sue', 'undo'. 428. have to do with See G. 434. well advised See G. 439-40. Peace....forswear Q prints as prose. 440. force See G. 459. Neither of either A current phrase of the time. Hart quotes Yorkshire Tragedy, sc. i. 'Neither of either, as the Puritan bawd says.' 462. like (F) Q 'lik' a Christmas comedy. No one has attempted to explain this, but it would seem that the 'dashing' (by the spectators) was a recognized part of the fun at impromptu festival plays and masques; cf. the treatment of Quince's company in M.N.D., of Hol.'s company in this play, and the story of the 'Night of Errors' at Gray's Inn, 28 December 1594. 463. zany (F) Q 'fame'—probably a misprint for 'fainie'. 465. smiles his cheek in years i.e. laughs his face into •wrinkles. Cf. Merch. 1. 1. 80 'With mirth and laughter let old wrinkles come'; Tw.Nt, 3. 2. 79 ' H e does smile his face into more lines than is in the new map'. 472. Much....'tis See G. 474. by th'square Q 'by'th fquier', see G. 'square'. 475. laugh upon the apple of her eye i.e. jest very intimately with her. 478. allowed (F) Q 'aloude', see G. 482. manage (Theob.) Q 'nuage', F 'manager', see G. 483. straight see G. S.D. Q 'Enter Clowne'. 484. Welcome etc. Q begins this line with a fresh prefix 'Ber.' and prints 'partft' for 'partest'. Note also that Costard's speech commences with a short line. All these things suggest a join in the text.

182

NOTES

5.2

4 9 0 - 1 . You cannot beg....thrice, sir Q prints this as prose. See G. 'beg'. 491 —2. three times thrice....Is not nine Cf. 11. 530—9, where Arm.'s paper reckons the five worthies as four, and 1. 2. 40, 53 n. It is obvious that the learned men could not reckon. Cf. p. 1, n. 501. they say (F) Q 'thy fay'. 502. Pompion = pumpkin. See G. Cost, gets the name right at 1. 504. 508. S.D. g ' E x i t ' . 514. doth least (F) Q 'doth beft'. The comp. appears to have set up 'best' for 'lest' by attraction with the 'best' earlier in the line.

515-18. Where zeal....their birth Cf. M.N.D. 5. 1. 89-105, where Theseus develops exactly the same argument, at greater length. '"Contents" is the subject matter of the play, used with a singular verb (dies) and referred to by "it", the object of "presents", "that" being the player' (Charlton). Many edd. take 'contents' as meaning 'contentment'; but 'contentment dies' would be exactly the reverse of what the Princess evidently intends to say. 517. Thereform (J. C. Maxwell < Capell). Q'Their forme' answering 'Where' in 1. 515. 519. S.D. Q 'Enter Bragart'. 522. Doth...serve God? Oakeshott (p. 120) sees here a poss. glance at Raleigh's "atheism". Cf. p. xiii above. 528. for tuna de la guerra (Theob.) £) 'For tuna delaguar', see G. 529. S.D. Q 'Exit', F omits. 543. S.D. Q 'Enter Pompey'. Cap. reads 'Seats brought forth'. Staunton writes, 'We must suppose that, on his entrance, Cost, prostrates himself before the Court; hence Boyet's joke'. 544. You lie etc. F 2 gives this to Boyet, and all edd.

5.2

NOTES

183

have followed. We see no reason why Berowne should be robbed. 545. With libbard^s head on knee Theobald quotes Cotgrave, 'Masquine The representation of a Lyon's head, etc., upon the elbow or knee of some old-fashioned garments'. Berowne's delight at B.oyet's jest shows that it has some point now lost to us. Cost, is again connected with heraldry at 11. 573—5. See G . 'libbard'. 558. S.D. Q 'Enter Curate for Alexander'. 561. nose....stands too right ' I t should be remembered, to relish this joke, that the head of Alexander was obliquely placed upon his shoulders' (Steevens). 562. Tour nose smells knight This jest turns upon Alexander's reputation for possessing skin and breath of 'a marvellous good savour' (North's Plutarch). Boyet is, of course, the 'tender-smelling knight' whose nose detects the difference between Nathaniel and Alexander, in this (F) Q 'in his'. 569. conqueror Q 'Conqueronr'. 574-6. Your Uon....Ajax ' T h e fourth (Worthy) was Alexander, the which did beare Geules, a Lion or, seiante in a chayer, holding a battle-axe argent' (Legh, Aceedens of Armourye, 1563, repub. 1591). Costard is obviously parodying this description. See G. 'Ajax\ 576. S.D. Q 'Exit Curat.' after 1. 582. 578. dashed Cf. note 1. 462, above. 583. S.D. Q 'Enter Pedant for Iudas, and the Boy for Hercules'. 584-7. See Introd. p. xli. 584. Cants (Rowe) Q 'canus'. The'false Latin'is perhaps deliberate since the word rhymes with 'manus'. 590. S.D. £> 'Exit Boy'. 595. A- kissing traitor Berowne quibbles upon 'clip' = kiss, in connexion with Iscariot. proved Q 'proud'. F 'prou'd'. How, ?misp.for'Now'.Cf.p. 100. L.L.L. - 16

!84

NOTES

5.2

603-4. hanged on an elder An ancient tradition. Dyce quotes Mandeville, 'And faste by is zit the Tree of Eldre, that Judas henge him selfe upon'. 604. elder (F) Q 'Flder'. Cf. p. 100, and 1. 2. 102,

n.

622. tvert (F) Q 'weart'. a lion We suppose that Hoi. wears a lion's skin as part of his accoutrement. Cf. the reference to 'the ass', 1. 627. 625. Jud-as Q 'Iudas', F 'Iud-as'. 626. humble See G. 627. A light....stumble We suggest that these words may refer to some Judas legend, familiar to Sh.'s age through the miracle-plays; or possibly 'stumble' is merely a jesting hint at the hanging to follow. S.D. (Capell) Q gives no 'exit'. 628. S.D. (Capell) Q 'Enter Braggart'. 629-30. Hide arms Oakeshott (p. 121, n. 1) suggests this may be addressed to Essex in the audience. 631. come home by me i.e. come home to me. It is not clear why Dumaine makes this remark. 633. Troy an See G. 635. Clean-timbered See G. 636. Hector's F 'Hector'. 640-1. He's a god....faces proverbial. 645. gilt nutmeg (F) Q 'gift Nutmegg', see G. "651- jtghtye (Roweu,I)yce, Al., etc.) Q 'fight;yea'. 658. Hector's a greyhound Commentators discover that Hector was a common name for a hound, but this does not explain Dumaine's jest. Possibly it is one more reference to Arm.'s lankiness of figure. Cf. 'cleantimbered', 1. 636. 663. S.D. £) 'Berowne fteps forth'. Cap. reads 'Biron steps to Cost, and whispers him'. Mod. edd. omit the S.D. altogether, although Berowne's exit is not only natural but even necessary as a preliminary to Cost.'s sudden intervention at 1. 670.

5.2

NOTES

185

665-67. / do adore...yard Prob. an important allusion to Raleigh; see Oakeshott, p. 114. 669. The party is gone (David) Most edd. give this to Cost., but it is printed in italics by Q just under Armado's speech which is also in italics, so that it is more likely to belong to the latter; and reflects 'the sweetwar-man is dead' etc. (1. 659). Cf. Alice Walker (R.E.S. 1952, p. 382) and Barker, Prefaces to Sh., 1, 46. 670. she is gone Is this inconsequent interpolation intended to recall Raleigh's 'She is gonn, shee is lost' {the Ocean's love to Scynthia, 1.493) ? but see 1.1. 26, n. 673. Troy an See G. 674. brags Because the child of a braggart. 687. them on! stir (Rowe) Q 'them or ftir'. 690. than will See p. 101. 692—3. fight with a pole, like a northern man Hart detects a reference here to border robbers of whose 'excessive staves' Harrison speaks in his Description of England (1587). But prob. Cost, merely mistakes the point of ' north pole'. 698. take you a button-hole lower Moth offers to help Arm. off with his doublet, but uses a phrase which means 'to take down a peg', as we should say. 708. go woolward for penance Jests upon gentlemen who, having but one shirt, had 'to go woolward' while it was a-washing, were common at this period. 709 . True etc. £) heads this speech with the ambiguous 'Boy.' which may mean either Boyet or Moth. We agree with Cap. and Malone that it is more suited to the latter. 712. S.D. Q 'Enter a MefTenger Mounfier Marcade.' The fact that this messenger is given a name, though he only speaks three lines, is significant. Even more significant is it that when the name is done into French, the lines that follow his entry, which are

186

NOTES

5-2

printed as prose in Q, are seen to be verse. Perhaps M. Mercade is a relic of a pre-Shakespearian play, see pp. xxx-xxxii. 713-14. Welcome....merriment Q prints as prose. 720-1. / have seen the day....like a soldier Arm.'s application of the proverb, 'One may see day at a little hole' (Tilley, D99), i.e. I have seen the danger from Cost, and have avoided it with a little discretion, which is the better part of valour, as a soldier would say. 721. S.D. Q 'Exeunt Worthys'. 733. nimble tongue (Theob.) Q 'humble tongue'. Probably the comp. took 'nimble' for 'umble', a common sixteenth-cent, sp. of'humble', see O.E.D. 738. at his very loose See G.'loose'. his = it$. 746. wholesome (F) Q 'holdfome'. 748. double Cap. suggests'deaf', Dyce'dull'. But the Princess is merely polite: the news has robbed her of both father and new-found friend. 750. bodges (J.D.W.) Q 'badges'—which seems pointless. But 'bodges' ( = phrases of clumsy workmanship) give the sense needed, and incidentally introduces an appropriate note of apology for breaking in upon the King's speech. The word is found in Lyly, Pappe with a Hatchett,' I know a foole what shall so inkhornize you with straunge phrases, that you shall blush at your own bodges' (Bond, 111,402). 759. straying (Q and David) Cap. and Camb. etc. 'strange'. Camb. edd. note that the spelling 'straing' for 'strange' occurs at 1. 303, Lover's Complaint, and also in Lyly's- Euphues (see Bond, 1, 2 5 2), and it was almost without doubt a Shakespearian spelling, see Sh. Hand, pp. 127-8. In 1923 I therefore read 'strange', but David cites Promos and Cassandra {Sh. Lib. vi, 228) pt. 1, iii, 1: 'O straying effectes of blinde affected Love, From swidomes pathes, which doth astraye our wittes' Cf. also Errors, 5. 1. 51 'Hath not

5.2

NOTES

187

else his eye | Strayed his affection in unlawful love?' and O.E.D. 'stray' trans. 760. eye doth roll Cf. M.N.D. 15. 1. 12-17. 764. misbecomed Q 'mifbecombd'. 774. the ambassadors (F) Q 'embaffadours'. 778. this in our (Hanmer) Q 'this our'. 785. world-without-end Cf. 'World-without-end hour' Son. 57. 787. dear See G. guiltiness; Q 'guiltines,'. 793. signs i.e. of the Zodiac. 797. weeds See G. 798. love, Q 'Loue:'. 799. love: Q 'Loue,'. 801. challenge me, challenge (Hanmer) Q 'challenge me, challenge me'. 803. instant (F) Q 'inftance'. Cf. 5.1.116, n. and Sh. Hand, p. 124. 808. entitled (J.D.W.). Q'intiled', F'intitled'. 812. hermit(A. W. Pollard. See Library, October 1917, p. 370). Q 'herrite', F 'euer'—an obvious makeshift, see pp. 190-1. We have had two n:r misprints already in this scene (see notes 5. 2. 89, 163), and for an m:r misprint cf. Ham. 5. 1. 109, 'madde' for 'rude'. 813-18. And what to me etc. See pp. 107-9. 814. purged too, your sins are rank (Rowe) Q (+most edd.) 'purged to, your fmnes are rackt'. Some edd. explain 'racked', not satisfactorily, as 'extended to the top of their bent' (Malone), quoting Merch. 1. 1. 191 'my credit shall be racked to the uttermost', which is a very different context. And David cites from O.E.D. 'to' early eccles. examples of ' t o ' = 'till', but none found elsewhere in Sh. Yet Rowe gives excellent sense, and 'racht' would be a very easy minim misreading of'ranke'. Sh. frequ. associated rankness with sin. 820. A wife? Q prints this as part of Katherine's rej oinder. Clark and Wright first restored it to Dumaine.

i88

NOTES

5.2

§34- eye, Q 'eye:'. 835. there: Q 'there,'. 841. estates (F) £> 'eftetes', see G. 842. wit Q 'wi:'. 853. agony See G. 873. ari1 a day So Q. 874. That's....flay 'Evidently' the play, in its original form, had ended' here (Noble, p. 34); he may well be right; cf. nn. 11. 878-80, 890-907, below. S.D. £> 'Enter Braggart'. 878-80. / will kiss year Q prints this as verse and the rest of the speech as prose. N.B. Armado does not, as a matter of fact, 'take leave', but introduces the 'antic' he refers to at 5. 1. 142, the 'pageant' having failed altogether to 'fadge'. The inference is that we have here a verse-speech revised in prose and that both 'antic'and songs were added in 1597. Cf. 11. 890-907 n. 866. S.D. Q 'Enter all'. That is all the players not already on the stage. Why are they brought on? Clearly, we think, to perform the 'antic, which probably consisted of a dance as well as the two songs'. 887. This side of Hiems etc. Q prints a new speechheading 'Brag.' here. Armado is stage-manager of the 'antic' and his words show that it involved a large number of persons, who need careful handling on the stage, a point which the F emphasizes even more strongly (see pp. 129-30) Possibly the words were added after the need for them was discovered in rehearsal. If so, this would account for the double prefix. But Q prints even a third prefix, 'B.' before ' Ver begin'. We explain this on the hypothesis that the songs were written on a separate sheet of paper, perhaps for the benefit of the musicians, and was headed with the cue lB. Ver begin'. 888. maintained i.e. defended. The two birds hold a dialogue or dispute in the medieval fashion.

5.2

NOTES

189

890-907. Q heads this 'The Song'. J. W. Lever (R.E.S. 1952, pp. 117 ff.) shows that these songs must have been written after the publication of Gerarde's Herball(i 597), since 'white' Lady-smocks and 'yellow' cuckoo flowers could only have been derived therefrom. After the solemn announcement of 'the dialogue that the two learned men have compiled' these songs burst upon us with exquisitely ludicrous effect. The punctuation is beautifully expressive, and is undoubtedly Sh.'s. (Cf. Noble, pp. 32-8.) .891—2. Q transposes these lines; we suppose that the comp.'s eye caught the wrong 'And' first. Theob. first rectified the error. 908. Q heads the Owl's song 'Winter'. 909. blows his nail See G. 'nail'. 910. Tom Q 'Thorn'. Cf. p. xli. 912 .foul (F) Q ' full' probably a misprint for' foull'. 914, 923. Tu-who (Cap.) Q, F om. The stanza pattern clearly needs this to correspond with the 'Cuckoo' in 11. 896, 905. But see Noble, p. 38. 915,924. to-who (£>,F) Prob. misp. for 'tu-who'. 926-7. The words of Mercury etc. Q prints this sentence without speech-heading and in larger type than the rest of the text. We follow suit, since the comp. would hardly have troubled to take out a fresh case of type unless he had a strong leading in his 'copy'. No one has explained the sentence; Chambers (Wm Sh. 1, 338) thought it looked like 'the beginning of an epilogue, or of a presenter's speech for a following masque'. But Prof. Schrickx1 plausibly suggests to me that Mercury (Hermes) is a sly reference to the hermeneutic philosophy of which Chapman was a spokesman. (Cf. also J.A.K.T. p. 70). If so the sentence is a hinted comparison between the crabbed obscurity of Chapman and the limpidity of Sh. 1 See p. xi.

GLOSSARY (Revised in i960, and indebted to the notes in R. W. David's edition of 1951, and to J. A. K. Thomson's Shakespeare and the Classics (1952), pp. 66-77.) Note. Where a pun or quibble is intended, the meanings are distinguished as (a) and (/>). ABATE, omit, except; 5. 2. 541 ABHOMINABLE. A freq. 16th— I7th-cent. sp. (explained as < ab homine), inhuman; 5. 1. 24 ABORTIVE, unnatural, unseasonable; i. 1. 104 ABROGATE SCURRILITY, cut out

indecency; 4. 2. 53 ACADEME,

a

philosophical

school or association of students (a not unusual Elizabethan form of 'academy'); 1. 1. 13; 4. 3. 299, 349 ACQUITTANCE, • written

ack-

nowledgement of a debtj 2. 1. 158 A D UNGUEM, at the fingers'

ends (lit. ' t o the nail'); 5- i- 74-7

AFFECTION, (i) love; 4. 3. 286,

(ii) affectation; 5. 1. 4 AGATE. Figures were cut in agates for seals (cf. Ado, 3. 1. 65); 2. 1. 234 AGONY, the agony of death, the death-throes; 5. 2. 853 AJAX, (i) 'kills sheep' in reference to (a) the fights to the death of rams in rut, {b) the slaughter of a flock of sheep by Ajax in his madness; 4. 3. 7; (ii) a quibble upon 'a Jakes', a stock jest of the age; 5- 2 - 575 ALLOWED, permitted the privileges of a fool (cf. T-w.Nt. 1. 2. 59; 1. 5. 101); 5. 2. 478 . . ALLUSION, jest, allegory, riddle (see exchange), 4. 2. 42

ADVANCE, raise;.4. 3. 364

ALMS-BASKET,

ADVISED, (see -well advised); 5. 2. 434 ADVISED (to be), to take care; 4- 3- 3 6 5 AFFECT (sb.), passion, desire;

which broken meats from the table of the wealthy were collected for distribution among the poor. Thus 'to live on the alms-basket' — to live upon public charity (O.E.D.); 5- i- 38 ANTIC, a grotesque pageant, or masque; 5- !• i°9> 14 2

1. 1, 151

AFFECT (vb.), resort to; 4. 2. 57 AFFECTED, (a) in love, (b) at-

tacked by disease (see O.E.D. 'affected' I I I , i ) ; 2. 1. 230

a

basket

in

APPERTINENT TO, belonging to;

1. 2. 16

GLOSSARY APOSTROPHES, usually = the

the sign (') indicating the omission of one or more letters, but poss. here = a ped^ntical word for 'Caesura'; 4. 2/126 ARGUMENT, (i) proof; 1.2.1635 (ii) theme; 5. 2. 743 ARGUS, Argus of the hundred eyes was set by Juno as guard over Io to prevent Jupiter making love to her; 3. 1. 198 ARMIPOTENT, mighty in arms (a conventional epithet of Mars; cf. Chaucer, Knight's Tale, 1124); 5. 2. 643, 650 ARMS CROSSED, TO hold down sorrow (cf. 1. 1. 304; 4. 3.

4-5)> 3- !• !7

seize as security; 2. 1. 157 ART, learning, science, magic, the skill or power which learning etc. bestows; 1. 1. 1454.2. 11754.3.321,349 ARTERIES, 'the nimble spirits in the arteries', a reference to the old medical notion that the arteries were the channel not only of blood, but also of the vital 'spirits' (q.v.); 4. 3. 302 ARTS-MAN, man of learning or science (see art); 5. 1. 77 ASPECT, appearance; 4. 3. 256 ATE, the goddess of mischief and bloodshed; 'more Ates' = more instigation; 5. 2. 686 ATTACH, to seize by the hand; 4- 3- 37 2 ARREST,

ATTAINDER, 'in a. of' = con-

demned to; 1. 1 157 BANDY, to strike the ball to and

191

fro at tennis (cf. 'set of wit'); 5. 2. 29 BARBARISM, ignorance; 1. 1. 112

(sell a), to make a fool of (cf. the modern slang 'sell'); 3. 1. 100, 102 BARK ON TREE (as sure as). The union of bark and tree was commonly taken as the symbol of the married state (see O.E.D. 'bark' 6); 5. 2. 285 BATE, to blunt, with a quibble upon 'bait' = to satisfy the hunger of (cf. 'cormorant devouring Time'); 1. 1. 6 BEADLE, parish constable, who was authorized to whip petty offenders (cf. jfohn, 2. 1. 188 'Her- injury the beadle to her sin'); 3. 1. 174 BEG, 'YOU cannot beg us' =» You cannot fool us. 'To beg a person' was lit. to petition the court of wards for the custody of a .minor, an heiress, or an idiot, as feudal superior (O.E.D.)5 5. 2. 490 BEN VENUTO It. 'undertake your b.v.' = ensure your welcome; 4.'2. 164 BESHREW, i.e. may my curse light upon; 5. 2. 46 BARGAIN

BETIME, betide; 4. 3. 379

BIAS, natural tendency or leaning. Orig. an oblique or slanting line, but with Sh. it generally refers to the oblique course of a 'wood' at bowls; 4. 2. 116 BIRDBOLT, a blunt woodenheaded heavy arrow, used for shooting small birds from a short distance (cf. Ado, 1. I. 39)5 4. 3. 22

192

GLOSSARY

(in), in full vigour (a hunting phrase); 4. 2. 4 BLOODS, gallant fellows (cf. John, 2. 1. 278); 5. 2. 707 BLOW (vb.), {a) to blow upon, (b) to make to blossom (i.e. blush); 4. 3. 106 BLOW HIS NAILS, see nail; 5. 2. 909 BLUNT, rude, unfeeling; 2. 1. 49 BOARD, (a) to board a ship, (b) to accost; 2. 1. 216 BODGES, clumsy phrases; 5. 2. BLOOD

75°

a long jewelled pin, with an engraved or modelled top, for ladies' hair. Hart quotes Florio, Neiu World of Words (1611), 'a bodkin, a head-needle....also a nice, coy, or selfe-conceited fellow'; 5- 2- 609 BOMBAST, cotton-wool for padding or stuffing; 5. 2. 777 'BONE' FOR 'BENE', see Laus Deo, etc.; 5. 1. 27 Bow HAND, see wide etc.; 4. 1. 132 BRAWL, 'the most ancient type of figure-dancing' (Sh. Eng. 11, 446) known in French as the 'brahle'; 3. 1. 9 BREAK UP, (a) to open a letter (i.e. break the wax), (b) to cut up or dismember (a fowl or a deer); 4. 1. 56 BREATHED, in training, with a good wind; 5. 2. 652 BROOCH. An ornament often worn in the hat, Halliwell quoted Taylor, Wit and Mirth (1630), 'In Queen Elizabeth's dayes there was a fellow that wore a brooch in BODKIN,

his hat like a tooth-drawer with a Rose and Crown and two letters'; 5. 2. 615-17. BROW, (i) countenance; 4. 3.

182, 223; (ii) strike at the b. = strike at the browantler, i.e. take good aim. The brow-antler was the lowest part of the stag's horn (see Turberville, Noble Art of Fenerie (1576), p. 238), and therefore the right mark for the archer; 4. 1. 116. BUCK, 'A Bucke is called the first yeare a Fawne, the second a Pricket, the third a Sorell, the fourth a Sore, the fifth a Bucke of the first head, and the sixth a Bucke' (Turberville, Noble Arte of Venerie(1576),p. 238);4.2. 10

BUTT-SHAFT, an unbarbed ar-

row used in shooting at the butts; 1. 2. 168 CAELUM, Lat. = sky; 4. 2. 5

CALF, dolt, ass; 5. 2. 247-50 CAN, a Northern and archaic form of "gan', much affected by Spenser and his followers; 4. 3. 103 CANARY (vb.), to move the feet as in the canary, a lively Spanish dance; 3. 1. 12 CANZONET, short song (cf. Thos. Morley, Canzonets or Little Short Songs to three voyces, 1593); 4. 2. 127 CAPABLE, (a) intelligent, (i) of marriageable age; 4. 2. 82 CAPON, (a) cock, (b) billet-doux (cf. Fr. 'poulet');4. 1. 56 CAREER, race or charge in. the lists; 5. 2. 482

GLOSSARY CARET, Lat. = it is missing; 4. 2. 129 CARRIAGE, demeanour; 5. 2.

306 CARRY, 'it carries it' = it beats

everything; 3. 1. 139 CARVE, (a) mod. sense, (/>) wave

the hand affectedly while speaking (cf. M.W.W. 1. 3. 44)54. 1. 55; 5. 2. 323 CASE, (a) condition, (6) mask

(cf. 5 . 2 . 387); 5 . 2 . 2 7 3 _ CAUDLE, a warm drink of thin gruel and wine, sweetened and spiced, for sick persons, especially women in childbed; 4. 3. 171 CAUSE, ' t h e first and second

cause' = lit. reasons according to the laws of the duello for accepting or refusing a challenge; here prob. stands for the laws of the duello in general; 1. 2. 170 CHANGE (a) sc. of the moon,

(J>) 'a round in dancing' (O.E.D. conj.)j 5. 2. 209 CHAPMEN, merchants; 2. 1. 16

CHARGE, i.e. load with arguments, as the cannon is with shot (cf. mounted); 5. 2. 88 CHARGE-HOUSE ON THE TOP OF THE MOUNTAIN. Suggests

that the 'college' or 'chargehouse' kept by Hoi. is no better than a sort of Dotheboys Hall, since it would remind the audience of this well-known passage in Erasmus' Colloquies: ' G . Where do you come from? L. From the college of the pointed Mountain [i.e. the College de Montaign that Erasmus attended in Paris]. G. Then 13

193

you come laden with learning? L. No with lice.' [Thomson, pp. 72-3] sec also Preface, p. xix; 5. x. 79 CHIRRAH, Corruption of 'chaere

(Xcupe) hail! [Erasmus; see Thomson, p. 71]; 5. r. 32 CHUCK, a familiar term of en-

dearment, applied to dear friends and close relatives; 5. 1. 107; 5. 2. 660 CITTERN-HEAD, referring to the

grotesquely carved head of the cittern, a common wirestringed musical instrument of the period; 5. 2. 608 CLAW (vb.), (a) scratch, {b) flatter; 4. 2. 70 CLEAN-TIMBERED,

i.e.

well-

built (Navarre refers sarcastically to Armado's loose, raw-boned figure); 5. 2. 636 CLEAVE, (a) to split or hit (the

pin in the centre of the target), (b) to grasp; 4. 1. 136 CLIPT, (a) abbreviated, (J>) em-

braced; 5. 2. 595 CLOSE-STOOL, commode; 5- 2.

574 CLOUD, mask, veil. This is Hart's explanation, and there can be little doubt that he is right (see O.E.D. 'cloud' vb. 3 and cf. 5. 2. 297); 5 2. 204-6 CLOUT, the mark in archery;

4- !• *33 COCKLE, darnel, tares; 4. 3.

380 COCKLED, with a shell or cockle; 4- 3- 335 CODPIECE, bag-like appendage

at the front of a man's hose or breeches; 3. 1. 183 NSLL

194

GLOSSARY

COG, to cheat (at dice-play); 5-2-235 COLLUSION, 'a trick or ambiguity, in words or reasoning' (O.E.D. 3 ) 5 4 . 2 . 4 3

CONDIGN,

COLOURABLE COLOURS, plausible

CONFOUNDED,

pretexts; 4. 2. 157 COLT, (a) a young horse, (b) a lascivious male (cf. hackney); 3. 1. 30

troyed; 5. 2. 517 CONGRUENT, fitting, agreeable (an affected word, n'ot found elsewhere in Shakespeare); 1. 2. 13; 5. 1. 89 CONSONANT, nonentity (a con-? sonant not being able to stand by itself like a vowel); 5. 1. 50

COME UPON, attack; 4. 1. 118 COMMON SENSE, 'ordinary

or untutored perception' (O.E.D.); 1. 1. 57, 64 COMPARISON, scoffing simile (cf. Ado, 2. I. 154); 5. 2. 840 COMPETITOR, partner; 2. 1. 82 COMPLEMENT, affectation of

courtesy, formal civility ('compliment' is a French word not Englished before the end of the seventeenth cent.); 1. 1. 168, 268; 3. 1. 2154. 2. 149 COMPLETE, accomplished, con-

summate; 1. 1. 136; 1. 2. 44! 3-i- " COMPLEXION, (a) temperament.

According to the old medical theory the 'complexion' or composition of man's body was made up of fourhumours or fluids: blood, phlegm, choler, and melancholy, (b) The colour of the skin; 1. 2. 7 8 - 8 3 ; 4. 3. 230, 264 CONCEIT, (i) an ingenious or

witty notion; 2. 1. 72; 5. 2. 260; (ii) understanding, wit; 4. 2. 93; 5. 2. 399 CONCEITED, ingenious; see Q

title-page, p. I CONCOLINEL, obscure, probably corrupt. Presumably = title

or opening word8 of the song; 3-1-3 well-merited

(ar-

chaic in a 'good' sense, but so used by Spenser); 1. 2. 25 ruined,

des-

CONTINENT, total, sum; 4. 1.

109 CONTINENT CANON, variously explained as (a) the law enjoining continence, (b) the law contained in the edict; Armado probably means both; 1. 1. 254 COPPER, ? false coin. Perhaps a ref. to the copper farthings issued in 1594, the earliest of English copper coin3 (see Sh.Eng. 1, 344); 4-3- 3 8 3 CORMORANT, gluttonous; I. 1. 4 CORNER-CAP, 'a cap with four (or three) corners, worn by divines and members of the universities in 16—17th c ' (O.E.D.). No one has yet noticed that it was also worn by judges (and still is, when passing sentence of death) but the whole context shows that Berowne has this use in mind (see Rentoni Encyc. Laws of Eng.: 'black cap'). It must also be noted that the ecclesiastical corner-cap was being hotly attacked by the

GLOSSARY

'95

common jest of the period; l 2 Puritans at this period. - - 33 Stubbes {Anatomy of Abuses, CUCKOO-UUDS, unexplained; the 1583, pt. 11, ed. Furnivall, marsh marigold, the butterp. 115) writes: 'The corcup and the cowslip have all nered cappe, say these misbeen suggested; 5. 2. 892 terious fellows [the Papists] CURIOUS-KNOTTED, i.e. quaintly doth signifie, and represent designed or laid out. A knot the whole monarchy of the = a laid-out flower-bed (see world, East, West, North Sk. Eng. 1, 371, 377); 1. 1. and South, the gouernment 243 whereof standeth vpon them, CURST, shrewish; 4. 1. 36 as the cappe doth vppon their CURTSY, bow (of any kind); heades.' Here is Berowne's I. 2. 62 'corner-cap of society'. To the Elizabethans the cornerDAMASK, the colour of the cap symbolized authority damask rose, i.e. a blush(cf. Tyburn); 4. 3. 51 colour (cf. A.T.L. 3. 5. 120-3 'a pretty redness.... CORPORALL, champion; 'corjust the difference between poral of the field' = 'a suthe constant red and minperior officer of the army in gled damask'); 5. 2. 296 the 16th and 17th cent., who acted as an assistant or DANCING-HORSE, Banks's wella kind of aide-de-camp to known performing horse, the sergeant-major (= the Morocco; 1. 2. 53 m o d e r n " a d j u t a n t ' ) " DAZZLING (intrans.) becoming (O.E.D.). It is to be noted dim or dazzled (cf. V.A. that there werefour of these 1064, 3 Hen. FI, 2. 1. 25); officers in. each regiment; r. 1. 82 3.1.18654.3.83 DEAR, grievous, dire; 5. 2. 787, 860 COSTARD, lit. a large kind of apple, but commonly applied DEAREST, best, 2. 1. 1 (orig. humorously) to the DEAREST SPIRIT, best wit; 2. head; 3. 1. 69 1. 1 COUPLEMENT, couple. A SpenDEATH, 'to the d.' = if we die serian word (cf. F.Q. vi, v. for it; 5. 2. 146 24 'And forth together rode, DEATH'S FACE, a skull. a comely couplement'); 5. 2. ' Death's-head rings with 529 the motto, memento mori, were very popular' (Hart); CRAB, crab-apple; 5. 2. 921 5. 2. 610 CRACK, boast of; 4. 3. 264 CRITIC, fault-finder, jeerer; 3. DEBATE, contention. A Spenserian word (F.Q. 11, viii, 54 i- "755 +• 3- * 6 7 CROSSES, coins (with crosses 'the whole debate'); 1. 1. stamped upon them)—a 173 CORNER-CAP (cont.)

GLOSSARY

196 DEGREE,

rank; 5. 2. 505

DENY, refuse; 5. 2. 228, 703,

807, 809 part with, surrender; 2. 1. 144 DEUCE-ACE, a low throw at dice, a two and a one. In the game of 'hazard', which is here referred to, if the player threw two aces (= ames-ace, see All's Well, 2. 3. 85) or a deuce-ace, he lost the game (see Sh. Eng. 11, 470); 1. 2. 46 DEPART WITHAL,

DEY-WOMAN, dairy-woman; 1.

2. 126 fellow. A term of contempt; 5. 2. 464 DICTYNNA, a recondite name for the moon. Steevens suggests that Sh. may have found this unusual title for Diana in the second book of Golding's translation of DICK,

Ovid's Metamorphoses: 'Dic-

tynna garded with her traine and proud of killing deere'; 4. 2. 36 DIGNITY, (a) worth, (b) grandeur; 4. 3. 232

DOTER, fond lover; 4. 3. 257 DOUBLE TONGUE, (a) deceitful

tongue, (i) alluding to the leather tongue on the inside of a mask held in the mouth to keep it in place; 5. 2. 245 DRY, dull, stupid (cf. Tiv.Nt. 1.3. 81; 1.5.44)55.2.373 DRY-BEATEN, severely beaten

(cf. Errors, G. 'dry'); 5. 2. 263 DUELLO, the art of duelling,

its code and practice. O.E.D. quotes no earlier use of the word than this, and Sh.'s references to the newfangled duelling with the rapier are uniformly contemptuous (see cause, passado, and M.W.W. G. 'fencing'); 1. 2. 172 DUTY, i.e. curtsy; 4. 2. 150

i.e. able to gaze upon the sun (cf. 4. 3. 33 0 - 1 ); +• 3- 2 2 2 .ENTER, entry. Theat. term; 5. 1. 130 EAGLE-SIGHTED,

ENVIOUS, spiteful; 1. 1. 100

Nathaniel means 'synonym'; 4. 2. 8 2. 113 EPITHETON, descriptive term; DISPOSED, in a jocund mood, orig. form of 'epithet'; 1. 2. inclined to mirth (cf. Tiv. H Nt. 2. 3. 88); 2. 1. 248; ESTATES, classes, ranks; 'on all 5. 2. 466 estates' = on all sorts of DOMINICAL, the red letter (? persons without discriminawith a gold background), tion; 5. 2. 841 denoting the Sundays (dies EXCHANGE, 'th'allusion holds dominica) in the old almain the exchange = either (i) nacs. Rosaline is of course 'the jest lies in thechange of glancing at Katherine's amthe moon' (Brae), 'exber (4. 3. 84) hair, which change' being a pedantic might be called either ' gol- • word for 'change', or (ii) den' or 'red'; 5. 2. 44 'the riddle is as good when I DIGRESSION, transgression; 1.

EPITHET,

GLOSSARY (cont.) use the name of Adam as when you use the name of Cain' (Warburton); 4. 2. 42

EXCHANGE

EXCREMENT, any outgrowth of

the body, e.g. hair, nails; 5. 1. 101 EXHALE,

draw forth; 4. 3. 68

EXPLICATION,

explanation;

Hol.'s word; 4. 2. 14 extempore; I. 2. 17554. 2. 50

EXTEMPORAL,

fluency; 4. 2. 129 FADGE, serve, fit, be suitable; 5. 1. 142 FAIR FALL! good luck to!; 2. 1. FACILITY,

121

lit. a present bought at a fair; hence, a complimentary gift of any kind; 5. 2. 2 FALCHION, sword; 5. 2. 613 FALSELY, treacherously; 1. 1. 76 FAMILIAR, (i) familiar spirit; 1. 2. 165; (ii) intimate friend; 5- J- 93 FANATICAL, frantic, extravagant; 5. 1. 18 FARBOROUGH, mispronunciation of 'Tharborough', i.e. thirdborough, a petty constable; 1. 1. 184 FAIRING,

FAST AND LOOSE, an old cheat-

ing game (associated with gypsies); 1. 2. 150; 3. 1. 102 FAT, slow-witted, dull; 5. 2. 268 FAUSTE, PRECOR, etc. 'I pray thee, Faustus, while all our cattle ruminate in the cool shade.' The opening words of the first eclogue of Mantuan (q.v.). The quotation

197

is not inappropriate to the sylvan surroundings; 4. 2. 99—100 FESTINATELY, quickly (a pedantic word); 3. 1. 6 FIERCE, ardent, eager; 5. 2. 8+9 FILED, polished; 5. 1. 10 FIRE-NEW, brand-new;

1. 1.

178 pyrotechnic display (very popular at this period); 5. 1. 109 FIRST AND SECOND CAUSE, technical excuses to escape a duel (cf. A.T.L. 5. 4. 66 ff.); 1. FIREWORK,

2. 170

FLAP-DRAGON, a burning raisin or plum floating alight in liquor and swallowed by topers. The term in contemporary allusion generally has reference to swaggering. Cost, is hitting at the braggart; 5. 1. 42 FLASK, 'carved-bone face on a flask', alluding to the carved ornament on a soldier's powder-horn; 5. 2. 614 FLATTER UP, pamper, coddle; 5. 2. 810 FLATTERY, charm, palliation (cf. O.E.D. 'flatter' vb. 3, 6); 4. 3. 282 FLEERED, grinned; 5. 2. 109 FLOURISH, varnish, embellish-

ment; 2. 1. 14; 4. 3. 234 'used as a term of endearment or pity' (O.E.D.); 2. 1. 182; 4. 3. 78 FORCE, to attach importance to (cf. Lucr. 1021 ' I force not argument a straw'); 5. 2. 440

FOOL,

FORFEIT, see Sue} 5. 2.

198

GLOSSARY

FORM, (a) order, orderly performance, (A) excellence, proficiency (see O.E.D. 'form' 6); 5. 2. 517 FoRTUNA DE LA GUERRA, the

fortune of war; 5. 2. 528 FREE, (a) untainted by disease, (b) unattached to a lover; 5. 2. 424. FRENCH CROWN, (a) the 'ecu',

a French gold coin, (b) the baldness produced by the ' French disease', i.e. syphilis; 3. 1. 14.0 FRIEND, sweetheart; 5. 2. 404 (a) a raw or sore place, (b) bile, bitterness of spirit; 'thou grievest my gall' = you annoy me; 5. 2. 237 GALLOWS (adj.), i.e. gallowsbird, one who deserves hanging; 5. 2. 12 GALL,

GEAR, dress; 5. 2. 306 GELDED, mutilated, depreciated

in value (of landed property); 2. 1. 146 GENEROUS, (Lat. generosus) noble, high-born; 5. 1. 88 GENTILITY, politeness, good manners; I. 1. 128 GENTLE, lit. well-born: hence, gracious, kind; 4. 3. 234 GERMAN CLOCK, 'one of elabor-

ate construction, often containing automatic figures of personsoranimals'(O.E.D.). Such clocks were very liable to get out of order; 3.1.189 GIG, a whipping-top; 4. 3.164; 5. 1. 63, 65 GILT, 'a gilt nutmeg', i.e. 'endored', or glazed with the yoke of an egg (cf. the proverbial 'gilded pill'). Gilt

nutmegs, for spicing ale or wine, were a common lover's gift at this time (Hart); 5. 2. 645 GIVE HORNS, i.e. make a husband a cuckold; 5. 2. 252 GLOZES, pretences, disguises, 'high-falutin talk' (Onions); 4- 3- 3 6 7 GNAT, i.e. an

insignificant

creature that flutters about a light; 4. 3. 163 _ GOD-DIG-YOU-DEN,

i.e.

God

give you good even; 4. 1. 42 GOD'S BLESSING ON YOUR BEARD !

may you have sense more fitting a grey beard!; 2. I. 201

GOLDEN LETTER

(see domini-

cal); 5. 2. 44 GOOD WORD, kindness; 4. 2. 91;

5. 2. 274 Go TO! Come! come! 3. 1. 200

indecently, smuttily; 4. 1. 136 GREEN GOOSE, a young goose (lit. a goose hatched in the autumn, green-fed in spring and sold in May). It seems clear from the contexts that Berowne means what would now be vulgarly called 'a flapper' (lit. = ayoungduck); 1. 1. 97; 4. 3. 73 GREASILY,

GROSS (by), wholesale; 5. 2.

3X9 basis, fundamental principle, the elements or rudiments of a study; 4. 3. 269, 299 GUARDS, ornamental borders or trimmings; 4. 3. 56

GROUND,

HA?,

eh? 3. 1. 52

GLOSSARY (a) a horse kept for hire, (b) prostitute; 3. 1. 31 HALF, 'your half'—your wife; 5. 2. 249 HACKNEY,

HALF-CHEEK, profile; 5. 2. 615 HALFPENNY PURSE, a minute

purse, halfpennies being tiny silver coins at this period (cf. M.W.W. 3. 5. 133); 5. 1. 70 HANDS (of all), in any case,

whatever happens; 4. 3. 215 HAUD CREDO, Lat. = I do not

believe it; Dull supposes 'credo' to be a kind of'doe'; 4. 2. 11 ff. HAUNTED, frequented; 1. 1. 162 HAVE AT YOU! Here's for you!

4. 3. 286 'to have dealings or business with; to have connexion or intercourse (of any kind) with' (O.E.D. 'do' 33. 9); 5. 2 . 428 HAY, 'a country dance having a winding or serpentine movement, or being of the nature of a reel' (O.E.D.); 5. 1. 149 HAVE TO DO WITH,

HEAR, 'do you hear?'—listen!;

2. 1.255 . HEAVY, stupid

with grief; 5. 2.

H HEDGE-PRIEST, unlearned priest

in minor orders; 5. 2. 539 that which one heeds or attends to (a rare meaning of the word); 1. 1. 82; 'suspicious watch' (Schmidt); 4. 3- 333 HIGHT, is called (deliberately archaic); 1. 1. 170 HEED,

L.L.L. - 17

199

HIND, (a) stag, (b) peasant; 1 2. 115

HIT IT, cf. Wily Beguiled (pub. 1606), Mai. Soc. Reprint, 11. 2451-7 'Thou art my Ciperlillie: | And I thy Trangdidowne dilly, | And sing hey ding a ding ding: And do the tother thing, And when tis done not misse, | To giue my wench a kisse: | And then dance canst thou not hit it?' and The Wit of a Woman (pub. 1604), Mai. Soc. Reprint, 11. 174-9 'You are Sir Nimbleheeles, and you shall bee a dauncing-maister to teach the wenches to daunce; so when you haue your mistresse, hange your selfe, if you can not teach her a right hit it, both in time and place to iumpe euen with the instrument.' We owe the second quotation to Prof. Moore Smith; 4. 1. 120, 12.3-5. HOBBY-HORSE, (a) a figure in

the morris-dance, 'formed by a man inside a frame fitted with the head and tail of a horse, and with trappings reaching to the ground and hiding the feet of the actor, who pranced and curvetted about' (Sh. Eng. 11, 438). 'The hobby-horse is forgot', which recurs in Ham. 3. 2. 146 and constantly elsewhere in Eliz. literature, is generally supposed to be a quotation from some ballad satirizing the Puritan opposition to

2OQ

GLOSSARY

(cont.) morris-dancing; but this is pure supposition, and it is not clear whether 'forgot' meant 'omitted' or 'out-offashion'; (b) a prostitute; 3. 1. 28-30.

HOBBY-HORSE

HoNORIFICABILITUDINITATI-

BUS, a jest of the medieval schools, supposed to be the longest word known. The nominative is a real word, and means 'the state of being loaded with honours'; 5. 1. 41 HORN-BOOK, a spelling primer, ' framed in wood and covered with a thin plate of transparent horn'; on this piece of paper the consonants were generally given first, next the vowels, each surmounted by a horizontal stroke or horn, and, after these, simple combinations of vowels and consonants, such as ab, eb, ib, ba, be, bi, etc., followed by the Lord's Prayer and so on (see SA. Eng. 1, 228, illustration); 5. 1. 45 HOUSE-KEEPING, hospitality; 2. 1. 103

How? Well, what about it? 5.2.598 HUMBLE, kind, civil; 5. 2. 627 HUMILITY, humanity (cf. M.V. C ) ; 4- 3- 34 6 HUMOROUS, moody, fanciful; 3. 1. 174 HUMOUR (vb.), adapt oneself to; 3. 1. 12 ILLUSTRATE, illustrious; 4. 1.

64; 5. 1. 117

Lat. = to copy; 4. 2. I3 2 IMP, lit. sapling, scion (without any necessary connexion with evil); hence, youngster; r. 2. 5; 5. 2. 584 IN, involved; 4. 3. 18 INCISION, blood-letting; 4. 3. 94 INCONSIDERATE, thoughtless, brainless; 3. r. 77 INCONY, delicious, rare, fine, pretty, 'a cant word of uncertain origin' (O.E.D.); 3. I. 134; 4. 1. 141 IMITARI,

INDISCREET, unwise; 4. 2. 29

INFAMONIZE, defame (Arm.'s speech); 5. 2. 677 INHERIT, possess, own; r. 1.

73; 4. 1. 20 INHERITOR, owner; 2. 1. 5

a kind of linen tape; 3. 1. 138

INKLE,

INSANIA, madness; 5. 1. 25 INSINUATETH ME OF, lit.

in-

serts (madness) into me; 5. 1. 24 INSINUATION, insertion; Hol.'s word; 4. 2. 14 INTELLECT, Probably a far-

fetched pun: 'understanding' > subscript; 4. 2. 139 INTELLIGISNE, DOMINE?

Lat.

= do you understand, sir?' 5. 1. 25 INTERIM, something done during an interval, respite; 1. 1. 171 INTIMATION, Gen. glossed sug-

gestion, but Hoi. probably means 'interruption' (< late Lat. 'intimare' = to thrust into (see Thomson, p. 68); 4. 2. 13 INWARD, secret, privy; 5. I. 94

GLOSSARY JERKS OF INVENTION, sallies of

wit. 'A very proper figure for a schoolmaster's use, since "jerking" was equivalent to whipping' (Hart); 4. 2. 132 JEW, unexplained. I t recurs in M.N.D. 3. 1. 97 'Most brisky Juvenal, and eke most lovely Jew', but is not found elsewhere. The M.N.D. parallel suggests that it is simply a playful diminutive of 'Juvenal' (q.v.); 3. 1. 134. JIG (sb.), a rapid lively dancetune; 4. 3. 165 JIG (vb.), to sing or play as a jig! 3- i- J I . JOAN, a generic name for a country wench; 3. 1. 204; 4. 3. 179; 5. 2. 916,925 JUVENAL. If Moth be a caricature upon Nashe, as is possible, this epithet was intended to recall Greene's phrase 'young Iuuenall, that byting Satyrist' (Groatsivorth of Wit, 1592). But 'juvenal' came to be used by the Eliz. as equivalent to 'juvenile' (cf. M.N.D. 3. I. 97, 2 Hen. IV, 1. 2. 22, Mere 's Wit's Treasurie, 1598, 'gallant young Iuuenall', etc.); 1. 2. 8; 3. 1. 65 KEEL, 'to cool a hot or boiling liquid, by stirring, skimming, or pouring in something cold, in order to prevent it from boiling over' (O.E.D.); 5. 2 . 9 1 6 , 9 2 5 KEEP, inhabit, keep to; 4. 3. 321

20 r

KILL THE HEART, utterly dis-

courage; 5. 2. 149 LADY-SMOCK,

generally

in-

terpreted 'cuckoo-flower', which, however, is pale lilac, not 'silver-white'; we suggest 'stitchwort', the whitest of all spring flowers; 5.2.891 LADY

WALLED

ABOUT

WITH

DIAMONDS, a piece of jewellery much affected at this time, in the form either of a brooch or a pendant; the figure might be a nude (presumably allegorical) or a portrait of some living person (cf. Sh. Eng. 11,114-15); 5- 2 - 3 LAND, possibly = 'laurid', i.e. a glade; 5. 2. 309 LARGE, loose, liberal, copious; 5.2.838 LAUS

DEO, BONE,

INTELLIGO,

God be praised, my good friend, I understand. But Hoi. takes 'bone' to be an error for 'bene' (Schmidt); 5.1.27 LEADEN SWORD, imitation sword

(a stage property); 5. 2. 481 LEGE,

DOMINE,

Lat. = read,

sir; 4. 2. I I O - I I LEMON

STUCK WITH CLOVES,

App. for spicing ale; 5. 2. 646-7 L'ENVOY, the short stanza at the conclusion of a poem, often defining the point of the poem, e.g. as in Sh.'s sonnets; 3. 1. 70-103 LIABLE, apt; 5. 1. 89

LIBBARD, properly, a leopard; but 'libbard' and 'lion' were

GLOSSARY

202

LlBBARD (cont.)

synonymous terms in respect of the English royalcoat of arms (see O.E.D. 'leopard' 2 b); 5. 2. 545 LIBERAL, too free, (almost) indecorous; 5. 2. 729 LIE, lodge, sojourn; 1. 1. 14.8 LIGHT, loose; 1. 2. 1195 2. 1.

19755. 2. 15,20 LIKELIEST; 4. 2. 91 LION THAT HOLDS HIS POLL-AXE,

the traditional representation of Alexander's arms; 5- 2 - 573 LIVER, formerly considered the seat of the passions; 4. 3. 72 LOFTY, sublime, (or poss.) haughty; 5. 1. 10 'LONG OF, along of, owing to; # 2. 1. 117 LOOSE (sb.), 'at his very loose' = at the very last moment (an archery term); 5. 2. 738 LOOSE (adj.), random, not 6erious, with a quibble upon 'loose-fitting'; 5. 2. 762 LORD HAVE MERCY ON US, writ-

ten upon the door of a plaguestricken house; 5. 2. 419 LORD'S TOKENS (the), marks or

spots which appeared on the patient at the last stage of the plague; here .a quibble; 5. 2. 423 _ LOVE, appraise, set a value upon (see O.E.D. vb. z i). Berowne means that through, love alone men have value;

ing at 3. 1. 177, and the secondary, if not the primary, meaning at 1. I. 191 M A I L , wallet, budget; 3. £. 72 MAINTAIN, defend; 5. 2. 888

MALMSEY, a strong sweet wine; 5- 2 - 2 3 3 MANAGE, 'a short gallop at full speed' in a riding-school (O.E.D.); 5. 2. 482 MANAGER, wielder, controller; 1. 2. 174 MANNER (taken with the), more properly, 'taken with the mainour', i.e. in the act; 1. 1. 202 MANTUAN, i.e. Battista Spagnuoli of Mantua (d. 1516), whose Eclogues became a school text-book all over Europe; 4. 2. 100 Manu cita, with swift hand; 5. 1. 65 MARGENT, margin of a page, the commentary or illuminated border in such a margin; 2. 1. 244 (where Boyet means the eyes, which are the 'illumination' of the face); 5. 2. 8 MARK, target, butt, anything at which aim is taken; 4. 1. 129 MARKET (ended the), an allusion to the proverb 'three women and a goose make a market'; 3. 1. 109 M E A N , thetenorpart; 5- 2 - 3 2 8

LOW-SPIRITED, base; 1. I . 244. LUSTRE, gleam; 4. 2. 92

MEASURABLE, meet, competent; 5. 1. 89 MEASURE, a stately dance; 5. 2. 185

MAGNIFICENT,

MEHERCLE! by Hercules! 4. 2.

4- 3- 355

vainglorious,

arrogant; the obvious mean-

83

GLOSSARY MERIT, (a) payment for ser-

vice done, (b) (theol.) works; 4. r. 21 MESS, lit. a party of four seated at one table and feeding from the same dish; 4. 3. 203; 5. 2. 36i_ METE AT, aim at; 4. 1. 131 METHEGLIN, a variety of mead,

spiced with herbs; 5. 2. 233 by no means; 3. 1.

203

MOUNTED, set up in position

(like a gun); 5. 2. 82 a playful term of endearment; 5. 2. 19 MUCH UPON THIS,'TIS = That's about the size of it; 5. 2. 472 MOUSE,

MUTTON AND PORRIDGE, i.e.

mutton-broth (with perhaps a side-glance at 'mutton' = a loose woman); 1. 1. 292—3

MINIME,

59 MINSTRELSY, domestic or court

entertainers. Not necessarily musicians; 1. 1. 176 MISPRISION, misapprehension; 4- 3- 95

(blow one's), to wait patiently while one has nothing to do (Hart), not 'warm one's hands', as it has been generally interpreted; 5. 2. 909

NAIL

miscar- NATIVE, by nature; 1. 2. 103 NICE, modest, shy, fastidious, ried, taken to the wrong refined; 3. 1. 22; 5. 2. 219, person; 4. 1. 57, 105 222,232, 325 MONARCHO, a crazy Italian NICKNAME (vb.), to call by an who haunted Elizabeth's incorrect or improper name court some time before (cf. Ham. 3. 1. 151 'you 1580, at which date Churchnickname God's creatures');' yard published a poem en5. 2. 349 titled The T'huntas ticall NINE WORTHIES, traditionally Monarkes Epitaphe. From these were Hector, Alexanthis, and from other conder, Julius Caesar, Joshua, temporary references, it David, Judas Maccabaeus, appears that the man was a Arthur, Charlemagne, and harmless madman, suffering Guy of Warwick or Godfrom megalomania; his 'clifrey of Bouillon. The list myng mynde', says Churchvaries with different writers yard, 'aspierd beyonde the but Hercules and Pompey Starrs'; 4. 1. 98 are not found elsewhere; MOONSHINE IN THE WATER, 5. 1. 113 appearance without reality, NIT, lit. the egg of a louse; foolishness just moonshine; hence, a very small insect or 5. 2. 208 fly; 4. 1. 147 MORTIFIED, dead to the pleasures of the world (a theoNo POINT, a phrase from the logical expression); 1. 1. French = not at all (with a 28 quibble upon 'the point of a knife or sword'); 2. 1. 188; MOTION, SC. of. body or mind 5. 2. 277 (cf. Caes. G.); 5. 2. 216-17 MISTAKEN, MISTOOK,

204

GLOSSARY

the pole star, symbol of constant determination, 'the ever fixed pole' (Oth. 2. I. 15); 5. 2. 691 NOTE, stigma, brand; 4. 3. 122; 5.2.75 NORTH POLE,

NOVI HOMINEM TANQUAM TE,

I know the man as well as I know you. A phrase from Lyly's Grammar; 5. 1. 9 NOVUM, a dice-game properly called 'novemquinque' from its two principal throws, nine and five. Berowne is referring to the presentation of nine worthies by five players; 5. 2. 541 NUMBERS RATIFIED, metrically correct verse; 4. 2. 128 O, a small circle or spot (Rosaline means 'pock mark'). Ci.M.N.D. 3. 2. 188 (star), Hen. V, 1st chor. 13 (the Globe theatre), Ant. 5. 2. 81 (the earth), and Cotgrave, 1611 (a spangle on a dress) 5 5- 2 - 45 OBSCENELY, Costard, like Bottom (M.N.D. 1. 2. m ) appears to think that the word is connected with' seen' and means 'openly, clearly, so as to be seen'; 4. 1. 142 ODE, ditty—applied to lyrical verse in general at this period; 4. 3. 96 O LORD, SIR, a common ex-

clamation = surely, certainly (cf. All's Well 2. 2.) 5 1. 2 6; 5. 2. 485 OMNE BENE, Lat. = all is well;

4. 2. 30 self-conceitj 5. 1. 5

OPINION,

(i) show. Arm., as usual, strains the sense a little and makes it = spectacle; 5. 1. 108; (ii) vanity, pretension; 5. 2. 409 OUT O'TH' WAY, beside the point, gone astray; 4. 3. 74 OUTSWEAR, forswear (cf. swear out)i 1. 2. 63 O'ERPARTED, having too difficult a part, or too many parts to play; 5. 2. 581 O'ERSHOT, wide of the mark; 4- 3- J 57 O W E , own; 1. 2. 103; 2. I. 6 Ox, 'to make an ox of one = to make one a fool (cf. M.W.W. 5.5.116)55.2.250 OSTENTATION,

PAIN, (a) toil, (b) penalty; 1. I. 73 PAINFUL, paintstaking; 2. I. 23 PAINTED, feigning, specious; 2. 1. 1454. 3.235 PAINTED CLOTH, cloth or canvas, used as hangings for the wall or for partitions in a room, and painted in oil. 'The Worthies' was a favourite subject for such paintings at this period (cf. 'scraped out'); 5. 2. 573 PARFECT, Costard's blunder for 'perform'; 5. 2. 501 PARITOR, 'an apparitor or paritor is the officer of the bishop's court who carries out citations: as citations arc most frequently issued for fornication, the paritor is put under Cupid's government' (Johnson); 3. r. 185 PARTI-COATED, in motley; 5. z.

762

GLOSSARY PASS, to accomplish, execute, enact (cf. O.E.D. 'pass' 4.5 and SAreiv, 4. 4. 57 'We'll pass the business privately and well'); 5. I. 124 PASSADO, from the Spanish 'passada' = a forward thrust with the sword, one foot being advanced at the same time (S/i. Eng. n, 398); 1.2. 171 PASSION

foreign fashioned. This 'singular and choice epithet' may be intended tosuggesttheastrological term 'peregrine' used of a planet out of its appropriate position in the zodiac; 5. 1. 14 PEREMPTORY, arrogant, overbearing, dictatorial; 4. 3. PEREGRINATE,

222; 5. 1. 10

(vb.), to be affected with passion or deep feeling (cf. Spenser, F.Q. 11, ix, 41); 1. 1.255 PATCH, fool. 'So were there a patch set on learning' = so a fool would be set on to learn; 4. 2. 31 PATHETICAL,

205

moving

(not

solely to pity, as in the mod. sense); 1. 2. 95; 4. 1. 147 PAUCA VERBA, few words—•

almost = not a word! 4. 2. 171 PAVILION,

tent for a champion at a tournament; 5. 2. 653 PEAL, a salvo of ordnance (O.E.D. sb. 5.) Armado is about to fire off; 5. I. 43 PELL-MELL, lit. 'confusedly,

without keeping ranks', and so 'headlong, recklessly'; 4. 3- 365 PENANCE, possibly blunder for 'pleasure' (R.W.D.); 1. 2. 124 PENCIL, a paint-brush for a lady's toilet; 5. 2. 43 PENNYWORTH, bargain; 3.1.101 PEPIN (King), first of the Carlovingian kings, died A.D. 768; representative, therefore, of hoary antiquityj 4. 1. 119

PERGE,Lat. = proceed; 4.2.53 PERJURE, perjurer. Perjurers at this period were punished by being publicly exhibited with a paper on head or breast, setting forth their guilt (cf. 'from my forehead wipe a perjured note', 4. 3. 122)54.3.45 PHANTASIME, fantastic being (not found elsewhere, cf. Monarcho); 4.1. 98; 5. 1. 18 PHYSIC, physician; 2. 1. 186 PIA MATER, brain (lit. a membrane enclosing the brain); 4. 2. 76 PICK, with a quibble upon 'pick'= throw,cast; 5.2.542 PICKED, fastidious; 5. 1. 13 PIN (sb.), 'a peg, nail or stud fixed in the centre of a target' (O.E.D. cf. Rom. 2. 4. I 5);+-1-135 PIN (vb.), 'pins the wenches on his sleeve' = i.e. flaunt their dependance upon him (see O.E.D. 'pin' 4) 5. 2. 321 PITCH A TOIL, set a snare; 4. 3. 3 PLACKET, petticoat, or a slit in

same; 3. I. 183 the application of a plantain-leaf as the popular remedy for bruises and wounds is constantly re-

PLANTAIN,

2o6

GLOSSARY

ferred to in Eliz. literature; 3- i- 72 PLANTED, set up, furnished. The word was specially connected at this time with the establishment, or 'plantation', of new colonies; 1. 1. 164 PLEA, that which is claimed (a rare use, but cf. M. ofV. 3. 2.28554.1.198,203)52.1.7 PLEASANT, merry, facetious; 4. 1. 128 PLEASE-MAN, ? (a coined word),

'officious parasite' (Charlton); 5. 2. 463 POINT (vb.), direct; 2. 1. 243 POINT-DEVISE, extremely pre-

cise, perfectly correct; 5.1.18 probably the long staff used by thieves on the Border (see David, note ad hoc)\ 5. 2. 692 POMEWATER, a large juicy kind of apple, popular in the sixteenth cent, but now forgotten; 4. 2. 4 POMPION, a pumpkin (often 'applied in contempt to a big man' O.E.D. 3,-cf. 'his great limb or joint', 5. 1. 124); 5. 2. 502 PORRIDGE, broth; 1. 1. 293 POST, ride as quickly as possible; 4. 3. 185 POLE,

PRSAMBULATE, go on before;

(sb.), the spot in the centre of a target, the bull's eye (for the quibble, cf. Rom. 2. 4. 119); 2. 1. 187; 4. 1. X r X 3 > 37 PRICKET, see buck; 4. 2. 12,21, 49, 52, 58 PRICK

PRINT (in), precisely; 3. 1. 170

a late Lat. grammarian, fl. A.D. 525; 5. 1.28 PROMETHEAN FIRE, the fire of heaven, such as Prometheus stole, ace. to Greek mythology; 4- 3- 3°°> 348 PROTESTATION, solemn declaration; 1. 1. 33 PRISCIAN,

PROUD, sensually excited (cf. Lucr. 712, T 348)> 2. I. 221 _ SHAPE, (a) form of any kind, (b)figure,person; 2. 1.59,60 SHAPELESS GEAR, 'uncouth dress' (Hart); 5. 2. 303 SHOP, the organ of generation (seeO.E.D. sb. 3c); 4. 3. 57 SHOWS, O.E.D. (sb.1 3) quotes Babington, 1592, 'About the beginning of May, when all things flourished and yeelded show'; 1. r. 106 SHREWD, mischievous, malicious; 5. 2. 12 SHROW, variant of 'shrew'; 5. 2. 46

SORTED,

SIGHT (in), conspicuously; 5«

253

SEVERAL

2. 136 SIGN, token, badge, or device (for identification); 5. 2.469 SIGNIFICANT token (Armado's word for a letter); 3. 1. 129 SIMPLICITY, folly, silliness; 4. 2. 225 4. 3. 52; 5. 2. 52 SINGLED, separated; 5. I. 79 SIR, a title prefixed to the Christian name of a person (cf. mod. 'Rev.'); 4. 2. 11 SIRS, the plural could be used of either sex, cf. Ant. 4.15. 85, where Cleopatra addresses Charmian and Iras as 'good sirs'; 4. 3. 208 SIT OUT, SC. of the game; 1. I. no SMALL, the part of the leg below the calf; 5. 2. 639 SMOCK, women's undergarment, shift, chemise; 5. 2. 479

SMOKE,

SNIP, a snatch; 3. 1. 21

(take in), take offence at; 5. 2. 22 SOD, past participle of 'seethe' = boil to a decoction; 4. 2. 2 3 SNUFF

SOLA! hallo! (cf. M. ofV. 5. r.

39); 4- i- *4 8 provide amusement; 4- 3- 374 SONNET, used loosely of any short poem of an amatory character (cf. ode); r. 2.176; 4. 3. 15,97, 131 SOLACE,

SORE, SOREL, see buck\ 4. 2. 57

etc. associated with; 1. 1.

SOWED COCKLE, etc. Cf. Tilley,

Trov. T 228 'He that sows thistles shall reap thorns'5 4. 3. 380 SPECIALTY, 'a special contract, obligation, or bond, expressed in an instrument under seal' (O.E.D.) 5 2. 1. 162 SPIRITS, 'the nimble spirits in the arteries' (cf. arteries). 'It was formerly supposed that certain subtle highlyrefined substances or fluids (distinguished as natural, animal, and vital) permeated the blood and chief organs of the body' (O.E.D.); 4. 3. 302 SPLEEN, fit, outburst; 5. 2.

117 dandified, affected; 5* 1.1455.2.407

SPRUCE,

GLOSSARY SPUR, with

a quibble on 'speer' which was commonly spelt 'spur' at this time (see O.E.D.), and meant, of course, to ask questions. The form was current in S. English, cf. J. Rainoldes, Overthrow ofStage-Play es (1593), 'You were disposed to spurre him idle questions'; 2. 1. 117 SQUARE, i.e. the carpenter's setsquare; 'know her foot by the square' = know the length of her foot; 5. 2. 474 STAFF, stave, verse or stanza; 4. 2. n o STAND, a sheltered position or covert for shooting at game (cf. M.W.W. 5. 5. 2265 Sh. Eng. 11, 386); 4. I. 10 STANZE, old form of 'stanza'; 4. 2. n o STAPLE, the fibre of wool from which the yarn is spun; 5. 1. (i) posture, pose; 4. 3. 182; (ii) dignity; 4. 3. 289; (iii) (a) health, (b) property, estate; 5. 2. 425

STATE,

STATUTE-CAPS,

prentice-caps.

Hart discovered the statute referred to in regulations 'for the Apparel of London Apprentices', enacted in 1582 by the Lord Mayor and Council, and decreeing 'that from henceforth no Apprentice should presume.... to wear any hat within the City and liberty thereof but a woollen cap, without any silk ia or about the same'j 5. 2. 281 STAY THANKSGIVING, wait for

209

the grace at the end; 2. I. 191

precipitous, perpendicular (see note); 4. 1. 2 STILL, always, for ever; 4. 3. 294 STOMACH, 'with a full s.' == (a) well-fed, (b) courageously; 1. 2. 143 STEEP-UP,

STOPS,

obstructions,

hin-

drances; 1. 1. 70 STOPPED, deaf; 4. 3. 333 STRAIGHT, at once; 5. 2. 483 STRAIN, tendency; 5. 2. 756 STRANGE, we

presume Nathaniel means 'original' or 'startling'; 5. 1. 6 STRAY, cause to stray or wander (cf. O.E.D. 4 c); 5. 2. 759 STUDY, meditate, ponder; 5. 2. 833

immediately; 2. 1. no SUE, 'how can this be true.... being those that sue', i.e. 'how can those be liable to forfeiture that begin the process? The jest lies in the ambiguity of "sue", which signifies "to prosecute by law," or "to offer a petition'" (Johnson); 5. 2. 427 SUGGEST, prompt, tempt; 5. 2. 766 SUDDENLY,

SUGGESTION, temptation; 1. 1. I58

SUIT, 'out of all suit' = sur-

passingly; 5. 2. 275 SUITOR, possibly = shooter; 4. 1. 107 SUN, 'get the sun of' = to get on the sunward side of aa enemy so that the sun shines in his eyes (O.E.D.). There

GLOSSARY

2IO

SUN (cont.) is also a 'gloze' on 'getting sons' (cf. Tit. 2. 3. 21); 4. 3. 366 SUP (trans, vb.), provide supper for; 5. 2. 690 SUPERSCRIPT,

superscription,

address; 4. 2. 137 SUPERVIZE, look over [Hol.'s word]; 4. 2. 127 SWEAR OUT, forswear, abjure (cf. outsivear); 2. 1. 103 TABLE-BOOK, note book (cf. Ham. I. 5. 107 'my tables'); TABLES, backgammon; 5. 2.

THEFT

? Abs. for concrete

thieves; 4. 3. 333 THIN-BELLY DOUBLET, 'a doub-

let with an unpadded belly or lower part' (Onions), as opposed to the 'great-belly doublet' (cf. Hen. F, 4. 7. 52). Doubtless Moth is also stressing the leanness of Armado's frame (see cleantimbered); 3. I. 18 THRASONICAL, boastful (Thraso is the braggart in Terence); 5. 1. 12 THREE-PILED, i.e. with a very thick pile, like the richest kind of velvet; 5. 2. 407

326 TAFFETA, thin silken stuff of lustrous appearance, from which masks and vizards were made; 5. 2. 159, 406

1-3° THUMP, Moth's imitation of the noise of a cannon; 3. 1. 64

TAKE A BUTTON-HOLE LOWER,

TIMBERED, see clean-timbered^

(a) help undress, (b) 'take down a peg'; 5. 2. 698 TALE, talk, remark; 2. 1. 74 TALENT, a common sixteenthcent, form of 'talon'; 4. 2.

5.2.636 T I M E , opportunity, occasion (cf. Temp. 2. 1. 299 'conspiracy his time doth take'); 4- 3- 378

69

TIMON,

TALK APACE, chatter; 5. 2. 369

TASK (vb.), impose a task upon, give a lesson to; 5. 2. 126 TAWNY, dark-skinned;

THROW UPON, bestow upon; 1.

1. 1.

TEEN, sorrow; 4. 3. 161

TEXT B, The 'text hand' was one of the more elaborate and formal of the various Elizabethan scripts. T h e 'black' Rosalineisapparently likened to a text B because this letter would require more ink for its formation than any other in the alphabet; 5. 2. 42

i.e. scorner

of the-

world, especially of woman; 4. 3. 167 TIRED, (a) incorrigibly lazy (O.E.D.); (i) lit. attired, hence = harnessed: 4. 2. 133 TOIL, snare, net; 4. 3. 3 TOOTHDRAWER, seebrooch\ 5- 2 .

617 TOUCH, hit or stroke in fen-

cing; 5. 1. 56 TOY (sb.), trifle; 4. 3. 167, 197 TRAIN, entice; I . 1. 71 TRANSLATION OF, 'commentary

upon' (Schmidt); 5. 2. 51

GLOSSARY

211

who

UNSEEMING, not seeming wil-

serves ladies at table (cf. 'carpet-knight' and 1. 477 below); 5. 2. 464 TREY, throw of three in diceplay; 5. 2. 232 TROYAN, good fellow, boon companion, dissolute fellow (cf. 1 Hen. IF, 2. I. 77); 5. 2. 634, 673

ling; 2. 1. 153 take one example; 5. 1. 65 UPSHOOT, a term of archery = ' the best shot up to any point in the contest' {Sh. Eng. 11, 383)»4- i- 135 USURPING, false; 4. 3.. 255 UTTER, (a) speak, (b) offer for sale; 2. 1. 16

TRENCHER-KNIGHT, one

TRUE, honest; 1. I. 302; 4. 3.

UNUM CITA,

185,209 a hoop garnished with ribbons, with which the tumbler did his tricks and which he wore across his body like a corporal's scarf; 3. 1. 187 TURN, (vb.), shape, fashion; 1. 2. 176; Costard mistakenly says 'turn off'— like a hangman; 5. 2. 508 TURTLE, turtle-dove; 5. 2.901, i.e. simple lover; 4. 3. 507 TWICE-SOD SIMPLICITY, quintessence of stupidity; (cf. sod) 4. 2. 23 TYBURN, 'the shape of Love's Tyburn' (see corner-cap). Cf. Lyly, Pappe ivith a Hatchett, 1589 (Bond, in, 401), 'Theres one with a lame wit, which will not weare a foure cornered cap, then let him put on Tiburne, that hath but three corners.' It is difficult to believe that Lyly's words did not suggest Shakespeare's; 4. 3. 52 TUMBLER'S HOOP,

UNCASE, undress; 5. 2. 596 UNCONFIRMED, inexperienced

(cf. Ado 3. 1. 114); 4. 2. 18 UNDO, untie, release; £• 2. 425

lowering, letting fall (naut. term, cf. 'vailing her high-top', M.ofV. 1. 1.28); 5. 2. 297

VAILING,

VARA, dial. = very; 5. 2. 487

lend freshness to; 4. 3. 240

VARNISH,

VARY, alter, change; 4. 3. 97 VASSAL,

abject creature; 1. 1.

249 VEAL! Fourfold quibble, (a)

German pron. of 'well!' = excellent, (i) veil = mask, (c) calf, (d) last syllable of 'Longaville'; 5. 2. 247 VENETIA, VENETIA, CHI NON TI VEDE, NON TI PRETIA, a

tag of Italian phrase found in Florio's First Fruites (1578), and other Elizabethan books:' Venice, Venice, who seeth thee not, praiseth thee not,'; 4. 2. 102-3

VENEW, a thrust or stroke in

fencing; 5. 1. 56 VENTRICLE, 'The ventricle of memory—•ventriculus or cellula mentorativa—in medi-

eval nomenclature was the third ventricle of the brain, the first and second being

212

GLOSSARY

VENTRICLE (cont.)

W E E K , 'in by t h ' week' =

the seat of imagination and reason' (SA. Eng. i, 421); 4. 2. 75 V I A , 'an adverb of encouraging much used by commanders, as also by riders to their horses' (Florio); 5. I. 144

trapped, caught. The origin and literal meaning of the phrase are unknown; 5. 2. 274 WEEPING-RIPE, ready to weep; 5. 2. 61

VIDEO, ET GAUDEO, I see and

weight as, (/>) to value at a certain rate; 5. 2. 26, 27

rejoice; £• i- 3 I VIDESNE guis VENIT Lat. ' D o

you see who comes?'; 5- !•

3° V l R SAPIT QUI PAUCA LOQUITUR,

a phrase from Lyly's Grammar, 'the Relative agreeth with his Antecedent in Gender, Number and Person, as Vir sapit etc. That man is wise that speaketh few things or words'; 4. 2. 8 3 VISITED, plague-stricken; 5. 2.

422 VISOR, VIZARD, mask; 5. 2. 227,

etc. VOLABLE, quick (Armado's speech); 3. 1. 65 W A I T , attend upon; 5. 2. 401 WAKE, village feast (lit. an allnight vigil previous to the annual feast of the dedication of the village church); 5.2.318 WARD, guard; 3. I. 131

WASSAIL, revelry, carouse; 5. 2. 318 WAX, increase (with a quibble upon 'sealing-wax'); 5. 2. 10

WEEDING, i.e. what has been weeded; 1. 1. 96 WEEDS, dress, clothes; 5. 2.

797

WEIGH, (a) to be of the same

WELKIN, heaven; 1. 1. 217 WELL ADVISED, in one's right

mind (cf. Errors, 3. 2. 213); 5. 2. 434 WELL-LIKING, in good condition, plump; 5. 2. 268 WHALE BONE (white as), a pro-

verbial phrase, often found in early English poetry; 5. 2. 332 W H A T TIME O' DAY? when may

that be?; 2. I. 120 WHIRLS, metaphor from Fortune's wheel (Schmidt); 4. 3-38I

WHITELY, pale; 3. 1. 195

W I D E O' THE BOW HAND, i.e.

wide of the mark (lit. wide on the left or bow-hand side of the target. The exclamation might be called out from the butts to the archers by the 'direction-giver', see Tiuo Gent. G.); 4. I. 132 WILL,

intention; 2. 1. 4 9 ;

'by my will' intentionally; 2. 1. 98 WIMPLED, muffled, blindfolded; 3. 1. 178 W I N K , close the eyes; 1. 1. 43

WIT-OLD,

(a)

feeble-witted,

(b) quibble upon 'wittol' = a contented cuckold; 5. 1.

59

GLOSSARY WOODCOCK, a type of stupidity; hence, a fool; 4. 3. 80 WOOLWARD, with woollen clothing next the skin; 5. 2. 708 WORKING, operation, effect; 1. 2. 9 WORM, used as an expression of pity, especially for those in love (cf. Temp. 3. 1. 31 'Poor worm, thou art infected'); 4. 3. 151 WORT, sweet unfermented beer; 5. 2. 233 WORTHY, excellence (cf. Tivo Gent. 2. 4. 164 'her whose worth makes other worthies

213

nothing'); 4. 3. 232; 'Nine Worthies' (q.v.) 5. 1. 113 YARD, membrum virile; 5. 2. 667 YCLIPED, called (deliberately archaic); 1. 1. 237; 5. 2.594 YEA AND NAY (by), a Puritan expletive, which Berowne uses jocularly; 1. 1. 54 YEARS, 'in y.'—into wrinkles; 5. 2. 465 ZANY, a stage-buffoon

who

imitated the tricks of the principal clown or fool; 5. 2. 463 ZEALOUS, fervent; 5. 2. 116