of which was one of fire;" but, as Douce remarks, the poet "simply wishes for poetic fire and a due proportion of inventive genius" (Illustrations of Shakespeare, p. 295). 30. Line 7: Leash'd in like hounds, &c.-Holinshed tells us that Henry V. announced to the people of Rouen "that the goddesse of battell, called Bellona, had three handmaidens, euer of necessitie attending vpon hir, as blood, fire, and famine" (vol. iii. p. 104). 31. Line 13: this wooden O.-The reference is to the Globe Theatre, which was of wood and circular in shape. Built in 1599 (or 1598), it was burnt down on the 29th June, 1613. In the Prolegomena to the Var. Ed. (vol. iii. p. 64) there is a woodcut of the Globe Theatre, and in Dancker's large map of London, published at Antwerp in 1647, there is also a tolerably good representation of this theatre as it then appeared. Malone says that he believes the house was called the Globe, not from its circular shape, but from its sign, "which was a figure of Hercules supporting the Globe, under which was written Totus mundus agit histrionem" (ut supra, p. 67). Compare note on As You Like It, ii. 7. 139–143. For wooden O, cf. Antony and Cleopatra, v. 2. 80, 81: And lighted The little O, the earth. 32. Line 22: The PERILOUS narrow ocean.-Steevens would make perilous an adverb=very, as in Beaumont and Fletcher, Humorous Lieutenant: "She is perilous crafty," &c.; but it is clearly an adjective. M. Mason cites Merchant of Venice, iii. 1. 4: "wrecked on the narrow seas; the Goodwins, I think they call the place; a very dangerous flat," &c. See Merchant of Venice, note 203. 33. Line 30: Turning th' accomplishment, &c.; i.e. "representing the work of many years within the time of an hour-glass." 34. Line 33: prologue-like.-Like one who delivers a prologue. The prologue was formerly ushered in by trumpets. (See Midsummer Night's Dream, note 262.) The Folio heads this division of the play with "Enter Pro logue;" but compare line 32: "Admit me Chorus." ACT I. SCENE 1. 35. The events narrated in this scene took place in Leicester, where the king held a parliament in 1414, but Shakespeare has chosen to make London the scene of the first act. 36. Line 1: that SELF bill.-The bill here referred to was one brought before parliament in the reign of Henry IV., providing that the temporal lands bequeathed to the church should revert to the crown, as is explained in lines 9-19. This measure naturally excited much commotion among the religious orders, whom, as Holinshed says, "suerlie it touched verie neere, and therefore to find remedie against it, they determined to assaie all waies to put by and ouerthrow this bill" (vol. iii. p. 65). It is in pursuance of this determination that the Archbishop in scene 2 opposes the Salic law. Self is here used in the sense of selfsame, and the literal rendering of the passage is that "the bill now urged is one and the same with that brought forward in the eleventh year," &c. 37. Line 4: the SCAMBLING and unquiet time. - For scambling see King John, note 252. 38. Line 8: of our POSSESSION.-Hanmer and Dyce read possessions. 39. Line 24: The courses of his youth, &c.-The habits of his youth gave no evidence of what was in him. The change in the character of Henry, great as it is, is not in itself an unusual one. Many a careless, free-living young man, who has beneath all his frivolities "a solid base of temperament," has made just such a radical change in his practices when suddenly brought face to face with the responsibilities of life. The archbishop, however, speaking in the true courtier spirit, persists in thinking that so remarkable a conversion was never known before. 40. Line 28: Consideration, &c.-"As paradise, when sin and Adam were driven out by the angel, became the habitation of celestial spirits, so the king's heart, since consideration has driven out his follies, is now the receptacle of wisdom and of virtue" (Johnson). 41. Line 33: in a flood.-Probably an allusion to the cleansing of the Augean stables by Hercules, who turned a river through them. 42. Line 34: a heady CURRANCE.-This is the reading of F. 1, and may well stand, as currance (= flux, flow) is found in writers of the time. F. 2 has current, which many editors prefer. 43. Line 36: all at once.-" And all the rest, and everything else" (Schmidt). Compare As You Like It, iii. 5. 35-37: Who might be your mother, That you insult, exult, and all at once, Staunton says it was a trite phrase in the time of Shakespeare, and quotes F. Sabie, Fisherman's Tale, 1594: "She wept, she cride, she sob'd, and all at once;" and Middleton, Changeling, iv. 3: Does love turn fool, run mad, and all at once! -Works (Dyce's edn.), vol. iv. p. 273. 44. Line 51: practic.-Used by Shakespeare nowhere else. The passage 51-59 is thus explained by Johnson: "His theory must have been taught by art and practice; which, says he, is strange, since he could see little of the true art or practice among his loose companions, nor ever retired to digest his practice into theory." 45. Line 52: theoric.-Theory. This word occurs in All's Well That Ends Well, iv. 3. 162, 163: "that had the whole theoric of war in the knot of his scarf;" and in Othello, i. 1. 24: "the bookish theoric." Some editors adopt his theoric, the reading of F. 3. 46. Line 60: The strawberry grows, &c.—"It was a common opinion in the time of Shakespeare that plants growing together imbibed each other's qualities. Sweet flowers were planted near fruit-trees with the idea of improving the flavour of the fruit, while ill-smelling plants were carefully cleared away lest the fruit should be tainted by them. But the strawberry was supposed to be an excep tion to the rule, and not to be corrupted by the 'evil communications' of its neighbours" (Rolfe). 47. Line 74: Than cherishing th' EXHIBITERS.-Exhibiter was used technically of those who introduced a bill. The verb exhibit occurs in this sense in Merry Wives, ii. 1. 2): "Why, I'll exhibit a bill in the parliament for the putting-down of fat men." So Measure for Measure, iv. 4. 11. The archbishop in effect says that the king, if not wholly indifferent, is at least more inclined to listen to the clergy than to those who would strip the church of its possessions. ACT I. SCENE 2. 48. Line 3: Shall we, &c.-The Qq. make the play begin here. 49. Line 11: the law Salique. See the archbishop's own explanation below, lines 38-50. 50. Line 15: Or nicely charge, &c.—The king warns the archbishop against knowingly burdening his conscience with the guilt of proclaiming, by fallacious reasoning, a title which may possibly be false. 51. Line 27: gives edge unto the SWORDS.-Dyce and some others read sword. 52. Line 37: Pharamond.-A king of the Franks who instituted the Salic law in 424, which was afterwards rati fied by Clovis I. in a council of state. 53. Line 57: four hundred one and twenty years.—Rolfe remarks, "No commentator has called attention to the error in subtracting 426 from 805, which leaves 379, not 421. Shakespeare follows Holinshed, who appears to have taken 405 from 826." 54. Line 72: TO FIND his title.-So Ff.; the Qq. have fine, which Dyce adopts. Johnson proposed line (that is, strengthen, fortify). Retaining find we may explain it, either "find out,' or-which is more probable,="furnish with." In the latter sense find, though now it is rather a colloquialism, was very regularly used. 55. Line 74: the Lady Lingare.-No such person appears in French history. Holinshed has Lingard. 56. Line 94: imbar.-The reading of F. 3, F. 4; F. 1, F. 2 read imbarre; Q. 1, Q. 2, imbace; and Q. 3, embrace. Imbare, the suggestion of Warburton, was adopted by Theobald and has been followed by Halliwell and others. Imbar means "to bar in," "to secure." 57. Lines 99, 100: When the man dies, let the inheritance The meaning obviously is, when he dies without a son. The Qq. have sonne for man; but the wording of Numbers xxvii. 8, "And thou shalt speak unto the children of Israel, saying, If a man die, and have no son, then ye shall cause his inheritance to pass unto his daughter," favours the Folio reading. 58. Line 108: Whiles his most mighty father on a hill, &c. -Allusion is here made to an incident at the battle of Cressy, thus described by Holinshed: "The earle of Northampton and others sent to the king, where he stood aloft on a windmill hill, requiring him to advance forward, and come to their aid, they being as then sore laid to of their enimies. The king demanded if his sonne were slaine, hurt, or felled to the earth. "No," said the knight that brought the message, "but he is sore matched." "Well," (said the king,) "returne to him and them that sent you, and saie to them that they send no more to me for any adventure that falleth, so long as my son is alive, for I will that this iournie be his, with the honour thereof" (Holinshed, vol. ii. p. 639). 59. Line 114: cold for action.-"The unemployed forces seeing the work done to their hands, stood laughing by and indifferent for action-unmoved to action" (Knight). 60. Line 125: They know your grace hath cause and means and might.-Dyce, adopting Walker's suggestion, transfers this line to the preceding speech; but hath in the next line is to be emphasized, as Malone suggested: 'your highness hath indeed what they think and know you have." 61. Line 129: pavilion'd.—Tented. The eagerness of the English to engage in conflict with the French is well brought out in the imaginative words of Westmoreland. Although their bodies yet remain here, he seems to say, their hearts are already in the tents on the French fields ready for battle on the morrow. 62. Line 161: The King of Scots. -David II., who was taken prisoner by Queen Phillippa at the battle of Neville's Cross, Oct. 1346, and held in captivity for eleven years. 63. Line 163: HER chronicle.--The Qq. have your, and the Ff. their. 64. Lines 166-173.-The Folio assigns this speech to the Bishop of Ely; but on examination of Holinshed it will be readily seen that it belongs to the Earl of Westmoreland. For tear in 173 the Qq. have spoile, and the Ff. Rowe made the correction. tame. 65. Line 175: crush'd.-The Folio reading, followed by Cambridge editors, and explained by Schmidt to mean "forced" or "strained." The Quarto reading is curst, which some editors retain and explain variously as "perverse," "froward," or "sharp," "bitter." 66. Line 187.—Malone pointed out that, in the description which follows, Shakespeare may have had in his mind's eye a similar picture drawn by Lyly, in his Euphues (pp. 262-264, Arber's ed.). 67. Line 189: The ACT of order.-That is, "orderly action." Pope substitutes art, which Dyce adopts. 68. Line 208: as many WAYS meet in one town.-Both the Qq. and Ff. have wayes (with some variations in the context), but Dyce adopts Lettsom's conjecture of streets. 69. Line 224: bend it to our awe; i.e. "force it to acknow. ledge our supremacy." 70. Line 233: worshipp'd with a waxen epitaph.-The reading of the Folio; the Quarto has “paper," the meaning in either case being "easily effaced," as Schmidt explains it. As Hunter remarks, worshipp'd is used in the sense of honoured, and the passage perhaps means "a grave without any inscription, not even one of the meanest and most fugitive." More probably, however, Shake speare is referring to the now obsolete custom of fastening laudatory stanzas, epitaphs, &c., to the hearse, or grave, of a distinguished man. For a full and interesting note on the practice, the student must turn to Gifford's Ben Jonson, ix. 58, where the editor goes out of his way to explain the present passage. Compare also Bullen's Middleton, v. 109, and see Much Ado About Nothing, note 363. 71. Line 252: galliard. —Compare Twelfth Night, i. 3. 127: "What is thy excellence in a galliard, knight?" Sir John Davies, in his Orchestra (stanzas 67 and 68, Grosart's edition, 1869), describes the dance thus: But, for more divers and more pleasing show Yet with a certaine answer and consent Which with the lusty tunes accordeth faire. Halliwell quotes Lanquettes Chronicle: "About this time [1541] a new trade of daunsyng galiardes upon five paces, and vaunting of horses, was brought into the realme by Italians, which shortly was exercised commonly of all yonge men, and the old facion lefte." 72. Line 258: Tennis-balls.-In the old play of The Fa mous Victories of Henry the Fifth the Dauphin's present is a gilded ton of tennis-balls. 73. Line 259: So pleasant with us.-The fine irony of this speech of the king's can best be appreciated when one contrasts the natures of the two men, Henry V. and the Dauphin. Up to a certain period, the death of Henry IV., their lives appear to have run in similar channels But the occasion for independent action has arrived, and Henry has successfully summoned up all his powers to meet it, while the Dauphin is still held captive by the "pleasant vices" of his youth. It is easy to call up the picture of the French ambassadors shrinking back from the king's presence, as they listen to the scorching words they are commissioned to deliver to their master, their pleasant prince, who had so imperfectly comprehended the nature of the man with whom he had to deal. "This mock of his" is to recoil with terrible emphasis upon his own head. 74. Line 263: strike his father's crown into the hazard. -This expression, like many of those in the first part of this speech, is taken from the game of Tennis, a game, as is well known, of great antiquity, though it was originally played, as its French name jeu de paume indicates, with the hand only, like our modern game of Fives. Afterwards a kind of glove was introduced, and later still a racket; though the introduction of this instrument took place very early, for Chaucer, in his Troilus and Creseide, bk. iv., mentions it: But thou canst plaien raket to and fro. -Minor Poems, vol. ii. p. 164. The exact date when the game was introduced into England is not known; but it was among the games against which an act was passed in the reign of Edward III. 1365. The object of this and other similar restrictive measures was to encourage archery at the expense of all other pastimes. As to the exact meaning of hazard in this passage there is some uncertainty. In the Tennis Court of the present day the hazard side is that side opposite the dedans, or the opposite side of the court to the server; and it is on this side of the court that there are two openings called respectively the grille and "the last gallery," into either of which, if the ball be struck by the player on the opposite side, it counts as a stroke. But in Howell's Dictionary, 1660 (known as the Lexicon Tetraglotton), we find under hazard: "The Lower Hazard of a Tennis Court; Pelouse." Pelouse in Cotgrave, among other synonyms, is explained as in Howell; and the synonyms given by the latter, in Italian and Spanish, leave no doubt that hazard meant a little hole in the wall, and that it is the same as what was called le petit trou, which was a little hole close to the floor in the service or dedans side of the court. In Mr. Julian Marshall's Annals of Tennis, plate 10, is seen a hazard; it is lettered 1; and at page 82 of the same work there is a copy of the print of James Duke of York, son of Charles I. (in a Tennis court), which is taken from a rare quarto pamphlet published in 1641. In this plate the young prince is represented as standing with his back to the dedans, and in the wall there are two holes, one high up on his lefthand side, and the other on the ground on his right-hand side. This latter was the petit trou or lower hazard; and there is very little doubt that the meaning of the phrase in our text is that Henry would strike the king's crown into the lower hazard, there being no doubt also a play upon the word hazard danger. A stroke into the lower hazard would be a winning stroke; so the meaning of the passage is quite clear, namely, that he would "win the crown of France." The word hazard is now used for a pocket in a billiard-table, and is commonly applied to a stroke which puts one of the balls into a pocket, a stroke which is described by billiard players as a losing or a winning hazard, accordingly as it is your own ball or one of the other balls that is put into the pocket. At what time, exactly, hazard came to be used in this sense is uncertain; but we find in Phillips's World of Words (1706) “Hazard (Fr.). . . at Billiards, Hazards, are the Holes in the sides and Corners of the Table, into which the Gamesters endeavour to strike their Adversaries Ball."-F. A. M. 75. Line 266: chases. -[Scaino in his Trattato della Palla, Venice, 1550, thus explains the word caccia "as being equivalent to the mark, or marking, of a ball that is sent, or pursued (cacciata); and he defines it as the point at which the ball terminates its flight, when struck, neither out-of-court nor in a manner contrary to any other rules (senza commissione di fallo)" (Annals of Tennis, p. 133). He uses the word caccie indifferently for both "strokes' and chases as we understand the latter word nowadays. Anyone who has been in a Tennis Court will have noticed upon the floor a number of lines on the server's side or side of the dedans. There are six a yard apart beginning from the end wall, with intermediate lines beginning at every half-yard. Besides these there are other lines not numbered which are called respectively Last Gallery, Second Gallery, Door and First Gallery, the latter being nearest to the net which divides the court into two parts. On the hazard side there are only seven lines, the first commencing four yards from the end wall. A full explanation of them will be found in the Annals of Tennis, p 118.-F. A. M.] Compare Sidney's Arcadia (book iii. p. 443, London, 1774): "Then Fortune (as if she had made chases enow on the one side of the bloody Tenis-court) went of the other side of the line," &c. Halliwell quotes a dialogue from the Marow of the French Tongue, 1625: "I have thirty, and a chase. And I, I have two chases. -Sir, the last is no chase, but a losse." 76. Line 276: For THAT I have laid by my majesty.The Folio reading. The Qq. have For this, and Collier's MS. corrector has For here. 77. Line 282: gun-stones.-Cannon-balls were originally made of stone. Steevens quotes Holinshed: "About seaven of the clocke marched forward the light pieces of ordinance, with stone and powder." In the Brut of England, it is said that Henry "anone lette make tenes balles for the Dolfin in all the haste that they myght, and they were great gonnestones for the Dolfin to playe with alle. But this game at tenes was too rough for the besieged, when Henry playede at the tenes with his hard gonnestones," &c. 78. Line 306: with REASONABLE swiftness.-Both Collier's and Singer's MS. correctors have seasonable. Linger your patience on; and we'll digest A corrupt passage, which is variously rendered by commentators. Steevens explains force a play as "to produce a play by compelling many circumstances into a narrow compass." Pope and Dyce read well digest. The lines seem out of place, and Knight believes that the author intended to erase them. [In Charles Kean's revival of the play at the Princess's Theatre (in March, 1859), immediately before these two lines were spoken, the scene opened and discovered "a tableau, representing the three conspirators receiving the bribe from the emissaries of France." The chorus in this revival was represented by Mrs. Charles Kean, who appeared as Clio, the Muse of History. Shakespeare has assigned no personality to the chorus of this play, and it was generally represented under the figure of Time; but Charles Kean's alteration was a very sensible one, especially as it enabled Mrs. Charles Kean to take part in the revival.—F. A. M.] 82. Line 40: We'll not offend, &c.; i.e. "You shall cross the sea without being sea-sick.” 83. Line 41: till the king come, &c.; i.e. "until the appearance of the king the scene will not be shifted to South ampton." Hanmer reads, But when the king comes, &c.; and Malone suggests: Not till the king come forth, and but till then. ACT II. SCENE 1. 84. Line 2: Lieutenant Bardolph.-It appears from an old MS. in the British Museum, that Wm. Pistail and R. Bardolf were among the cannoniers serving in Normandy in 1435. 85. Line 3: What, are ANCIENT Pistol and you friends yet?-For ancient (defined by Cotgrave An Ensigne, Auntient, Standard bearer") cf. The Knight of the Burning Pestle, v. 2: "March fair, my hearts! Lieutenant, beat the rear up-Ancient, let your colours fly" (Beaumont and Fletcher, Dyce's ed. ii. 218). But the best known of all ancients is of course Othello's ancient, Iago. 86. Line 6: there shall be SMILES.-It is rash to correct Nym's nonsense; but Dyce adopts Farmer's conjecture of smites. Nym may, however, be looking forward to the end of the war, which seems to be more in his thoughts than his quarrel with Pistol. 87. Line 16: I will Do as I may.-Dyce follows Mason in the needless change to die. Nym means to say that he will make the best of it, or submit to his fate. 88. Line 17: that is my REST.-A term taken from the old game of primero, equivalent to, "that is my stake, wager resolve." Compare Comedy of Errors, iv. 3. 27: "he that sets up his rest to do more exploits;" and All's Well that Ends Well, ii. 1. 138: "Since you set up your rest 'gainst remedy." See Romeo and Juliet, note 186. Outside Shakespeare note the Spanish Gipsy, iv. 2. 12, 14: Could I set up my rest That he were lost, or taken prisoner; and same play, iv. 3. 138: Set up thy rest, her marriest thou or none. 89. Line 31: Base TIKE. -For tike (a Scandinavian word, Swedish tik a bitch) cf. Lear, iii. 6. 73: Or bobtail fike or trundle-tail. Tyke, in Yorkshire, is a common word for a hound (used also of a churlish fellow). 90. Line 43: ICELAND DOG.-Nares describes these animals as "shaggy, sharp-eared, white dogs, much imported formerly as favourites for ladies," and refers us to various passages where they are alluded to; e.g. Swetnam's Arraignment of Women, 1615: “But if I had brought little dogges from Island, or fine glasses from Venice, then I am sure that you would either have woed me to have them, or wished to see them." So Massinger, the Picture, v. 1: So I might have my belly full of that Her Iceland cur refuses. -Works, p. 314 The folios have Island, the old spelling of the word. In The Queen of Corinth, iv. 1, we find the form Isling: Hang hair like hemp, or like the Isling curs. -Beaumont and Fletcher, Works (Dyce's edn.), vol. v. p. 455. 91. Line 48: Will you SHOG off?-Cf. Beaumont and Fletcher's The Coxcomb, ii. 2: Come, prythee let's shog off, And bowze an hour or two. -Works, vol. ii. p. 289. Shog is a form of "jog;" it means "to shake" (Palsgrave); but in Westmoreland it means "to slink away." 92. Line 57: Barbason.-The name of this particular fiend or devil occurs in Merry Wives in the speech of Ford, ii. 2. 310-313, where he says: "Amaimon sounds well; Lucifer, well; Barbason, well; yet they are devils' additions, the names of fiends." In the list of devils given in Reginald Scot's Discovery of Witchcraft, bk. 15, chap. 2, no such flend as Barbason appears; but there is Barbatos, who is said to be "a great countie or earle, and also a duke, he appeareth in Signo sagitarii sylvestris, with foure kings, which bring companies and great troupes" (Dr. B. Nicholson's reprint, p. 314). He is the fifth, and he comes next after "Amon, or Aamon," who was probably the same as ". Amaymon, king of the east," who is mentioned in the next chapter.-F. A. M. 93. Line 66: Therefore EXHALE; i.e. "die," says Steevens; but Shakespeare, according to Mr. Aldis Wright, always uses the word in the sense of "draw out." For the latter we may compare Ben Jonson's The Poetaster, iii. 1: "Nay, I beseech you, gentlemen, do not exhale me thus" (Works, vol. ii. p. 444). 94. Line 78: to the SPITAL go.-For spital (spelt "spittle" in the folios), cf. The Little French Lawyer, iii. 2: "Thou spital of lame causes" (Beaumont and Fletcher (Dyce), vol. iii. p. 508). 95. Line 80: the lazar kite, &c.-Steevens quotes Gascoigne, Dan Bartholomew of Bathe, 1587: "Nor seldom seene in kites of Cressid's kind;" and Greene, Card of Fancy, 1601: "What courtesy is to be found in such kites of Cressid's kind?" 96. Line 86: and YOU, hostess.-The Ff. have and your Hostesse. The Qq. read, Boy. Hostes you must come straight to my maister, and you Host Pistole." 97. Line 91: yield the crow a pudding.-Literally "become food for crows;" but by this extravagant expression the Hostess merely means to convey the idea that Falstaff's days are numbered. 98. Line 100: Base is the slave that pays.-Steevens pointed out that this irreproachable sentiment was apparently a proverb; or at least became one. He refers us to Heywood's Fair Maid of the West, 1631: "My motto shall be, Base is the man that pays." 99. Line 122: As ever you CAME of WOMEN, &c.-The Folio has "come of women," and the Qq. “came of men.” Knight and Collier follow the Folio. 100. Line 124: quotidian tertian.—The dame mixes up the quotidian fever, the paroxysms of which recurred daily, and the tertian, in which the interval was three days. 101. Line 132: he PASSES some HUMOURS and CAREERS. -Curiously enough a double parallel to this line occurs in a single scene in The Merry Wives, where we have, i. 1. 169: "Be avised, sir, and pass good humours;" and line 184: "and so conclusions passed the careires." The second phrase is perhaps a term borrowed from horsemanship, which Nares (under Careires or Career) illustrates by a passage in Harington's translation of Ariosto, xxxviii. 35: To stop, to start, to pass carier, to bound, To gallop straight, or round, or any way. [The only difficulty in explaining this phrase lies in the fact that the word careire, carreer, or career (the word being very variously spelt), must have had two distinct meanings. Baret (1573) gives under "a Carryre, the short tourning of a nimble horse now this waie, now that waie;' while Minsheu (edn. 1617) gives Carriere a Lat: currere: est propria locus cursibus equorum destinatus, because it is a place of running. Later it was used simply ="a course, a race, a running full speed" (Phillips, 1706). Nares and Douce both say that to run a career was the same expression as to pass a career; but this may be doubted; for in the former phrase career probably has the more usual meaning of "a race at full speed." The meaning of the phrase to pass a career may be best explained by the following passage from Blundevill's The foure chiefest offices belonging to Horsemanship, &c., the first edition of which was published in 1580. In The Second Booke of the Art of Riding, ch. xxiii. "How and when to teach your horse to passe a swift cariere," Blundevill recommends: When a horse is "better broken, and made meet to be run, ride him into some fair plain sandy way void of al stūbling stones & to acquaint him with ye way pase him fair and softly ye length of a good Cariere, which must bee measured, according as the horse is made. For if he be a mightie puissant horse, and great of stature: then the Cariere would bee the shorter. So likewise must it be, when you would haue him to boud aloft in his Cariere: but if he be made like a jennet, or of a middle stature, then the Cariere path may be ye longer, yet not overlong. At the end wherof let him stoppe and aduance, and at the second bound turn him faire and softly on the right hand, and so stay a little while. Then suddenly saying with a liuely voice, Hey, or Now, put him forward with both spurres at once, forcing him all ye way to run so swiftly and so roundly as he can possibly, euen to the end, to the intent, he may stop on his buttocks. That done, turne him out on ye left hand, and pase him forth faire and softly vnto the other end of the Cariere path, and there stop him and turn him againe on the right hand, as you did before, and so leaue" (edn. 1609, p. 33). The derivation of the word is most probably from the French Carrière, which Cotgrave explains: "An high way, rode, or streete (Langued); also, a quarry of stones; also, a careere, on horse-backe; and (more generally) any exercise, or place for exercise, on horse-backe; as, a horse race, or a place for horses to run in; and, their course, running, or full speed therein." (Nearly all these mean. ings are given to the word Cariere in the above passage from Blundevill.) Cotgrave also gives the phrase: Donner carriere à son esprit, which he explains: "To recreate his |