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Moth. Master, will you win your love with a French brawl?

ARM. How mean'st thou? brawling in French?

Moth. No, my complete master: but to jig off a tune at the tongue's end, canary to it with your feet, 6 humour it with turning up your eye-lids; sigh a note, and sing a note; sometime through the throat, as if you swallowed love with finging love; sometime through the nose, as if you fouff'd up love by smelling love; with your hat penthouselike, o’er the shop of your eyes; with your arms cross’d on your thin belly-doublet, like a rabbit on a spit; or your hands in your pocket, like a man after the old painting ;? and keep not too long in

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Ś a French brawl?') A brawl is a kind of dance, and (as Mr. M. Mason observes ) seems to be what we now call a cotillon.

In The Malcontent of Marston, I meet with the following account
of it: ". The brawl! why 'tis but two singles to the left; iwo on
the right, three doubles forwards, a traverse of fix rounds: do this
twice, three singles fide galliaru trick of twenty cornto pace;
figure of eight, three singles broken down, come up,
doubles, fall back, and then honour.
Again, in Ben Jonson's masque of Time Vindicated :

" The Graces did them footing teach;
66 And, at the old Idalian brails,

“ They danc'd your mother down." STEEVENS,
So, in Massinger's Picture, A& 11. sc. ii :

so 'Tis a French brawl, an apith imitation
• Of what you really perform in battle. TOLLET.

canary to it with your feet, ] Canary was the name of a spritely nimble dance. THEOBALD,

like a man after the old painting;] It was a common trick among some of the most indolent of the ancient malters, to place the hands in the bosom or the pockets, or conceal them in forne other part of the drapery, to avoid the labour of representing them, or to disguise their own want of skill to employ ihem with grace and propriety. STEEVENS. Vol. VII.

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one tune, but a snip and away: These are complements,

8 these are humours; these betray' nice wenches — that would be betray'd without these; and make them men of note, (do you note, men?) that inost are affected to these. ?

Arm. How hast thou purchased this experience?
MOTH. By my penny of observation. 3
ARM. But 0,- but 0,- -
Moth. — the hobby-horse is forgot. *

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These are complements,] Dr. Warburton has here changed complements to comflishments, for accomplishments, but unnecessarily.

JOHNSON. these betray, &c.] The former editors:--thefe betray nice wenches, that would be betray'd without these, and make them mer of note.

But who will ever believe, that the old attitudes and af. fedations of lovers, by which they betray young wenches, should have power to make these young wenches, men of note? His meaning is, that they not only inveigle the young girls, but make the men taken notice of 100, who alled them. THEOBALD.

and make theni men of note, (do you note, men?) that are most a jetted to these.] i, e, and make those men who are most affeded to such accomplishments, men of note. Mr. Theobald, without any neceflity, reads and make the men of note, &c. which was, I think, too hastily adopted in the subsequent editions. Onc of the modern editors, instead of w do you note, men?" wiib great probability reads

do you note me?' MALONE. 3. By my penny of observation.] Thus Sir T. Hanner, and his reading is certainly righi. The allusion is to the famous old piece, called a Penniivorth of 1Vit. The old copy reads — pen. FARMER.

The story Dr. Farmer refers to, was certainly printed before Shakspeare's time. See Laugliam's Letter, &c. RITSON.

irm. But 0, - but 0,

Moth. the hobby-horse is forgot. ] In the celebration of May. day, bclides the sports now used or hanging a role with garlands, and dancing round it, formerly a boy was dreiled up representing Maid Marian; another like a fiiar; and another rode on a hobbyhorse, with bells jingling, and painted streamers. After the Reo formation took place, and precisions multipiied, these lutier rites were looked upon to favour of pa anism; and then Maid Marian, the friar, and the poor lobby-loise, were turned out of the games.

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Arm. Call’lt thou my love, hobby horse ?

Moth. No master; the hobby-horse is but a colt,' and your love, perhaps, a hackney. But have you forgot your love?

ARM. Almoft I had.
Moth. Negligent student! learn her by heart.
ARM. By heart, and in heart, boy.
MOTH. And out of heart, master; all those three

I will prove.

ARM. What wilt thou prove?

Moth. A man, if I live; and this, by, in, and without, upon the instant: By heart you love her, because your heart cannot come by her: in heart you love her, because your heart is in love with her; and out of heart you love her, being out of heart that you cannot enjoy her.

ARM. I am all these three.

Moth. And three times as much more, and yet nothing at all.

ARM. Fetch hither the swain; he must carry me a letter.

Moth. A message well sympathised; a horse to be embassador for an ass!

Some who were not so wisely precise, but regretted the disuse of the hobby-horse, no doubt, 'satirized this suspicion of idolatry, and archly wrote the epitaph above alluded to. Now Moth, hearing Armado groan ridiculously, and cry out But oh! but oh! - humoroully pieces out his exclamation with the fequél of this epitaph.

THEOBALD. The same line is repeated in Hamlet. See note on A& III. fc. ii. STEEVENS.

but a colt, ] Colt is a hot, mad-brained, unbroken young fellow; or sometimes an old fellow with youthful desires.

JOHNSON.

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Arm. Ha, ha! what sayest thou ?

Moth. Marry, fir, you must send the ass upon the horse, for he is very slow-gaited: But I go.

ARM. The way is but short; away.
Moth. As swift as lead, fir.

Arm. Thy meaning, pretty ingenious ?
Is not Icad a metal heavy, dull, and flow?
MOTH. Minimé, honest master; or rather, mal-

ter, no. Arm. I say, lead is slow.

ΜίρΤΗ. . You are too swift, fir to say fo:6 Is that lead flow which is fir'd from a gun?

ARM. Sweet smoke of rhctorick! Hereputes me a cannon; and the bullet, that's he:-

6 You are too swift, sir, to say so :) How is he too swift for saying that lead is flow? I fancy we should read, as well to supply the Thyme as the sense:

You are too swift, fir, to say so so soon:
Is that lead Now, sir, which is fir'd from a gun ?

JOHNSON. The meaning, I believe, is, You do not give yourself time to think, if you say so; or, as Mr. M. Mason explains the passage, " You are too hafty in saying that: you have not sufficiently consider. ed it.”

Swift, however, means ready at replies. . So, in Marston's Malcontent, 160.4:

" i have eaten hut two spoonfuls, and methinks I could discourse both swiftly and wittily, already. ' STEEVENS.

Swift is here used, as in other places, synonymously with witty. I suppose the meaning of Atalanta's better part, in As You Like It, is her with -- the swifiness of her mind. FARMER.

So, in As you like it :- He is very swift and sententious." Again in Much ado about nothing:

Having so swist and excellent a wit.” On reading the letter which contained an intimation of the Gunpowder-ploi io 1605, King James said, that " the style was more quick and pithic than was usual in pasquils and libels."

MALONE.

I shoot thee at the fwain.
Мотн.

Thump then, and I flee. [Exit. ARM. A most acute juvenal; voluble and free of

grace!

By thy favour, sweet welkin,' I must figh in thy

face: Most rude melancholy, valour, gives thee place. My herald is return'd,

Re-enter Moth. and COSTARD.

MOTH. A wonder, master; here's a Costard bro.

ken in a fhin. Arm. Some enigma, some riddle: come,-thy

l'envoy ;-begin. Cost. No egma, no riddle, no l'envoy;' no salve in the mail, fir:' O fir, plantain, a plain plan

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? By thy favour, fweet welkin, ] Welkin is the sky, to which Armado, with the false dignity of a Spaniard, makes an apology for fighing in its face. JOHNSON.

here's a Costard broken--] i. e. a head. So, in Hycke Scorner : " I wyll rappe you on the coftard with my horne.'

STEEVENS. - no l'envoy;] The l'envoy is a term borrowed from the old French poetry. I appeared always at the head of a few concluding verses to each piece, which either served to convey the moral, or to address the poem to some particular person. frequently adopted by the ancient English writers.

So, in Monsieur D'Olive, 1606:

66 Well said : now to the L'Envor." All the Tragedies of John Bochas, translated by Lidgate, are followed by a L'Envoy.

STEEVENS. no salve in the mail, fir:] The old folio reads no salve in thee male, sir, which, in another folio, is, no Salve in the male, fir. What it can mean, is not easily discovered: if mail for a packet or bug was a word then in use, no Salve in the mail may mean, no

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