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Now will I look to his remuneration. Remuneration! O, that's the Latin word for three farthings : three farthings—remuneration. What's the price of this inkle? a pennyi-No, I'li give you a remuneration: whiy, it carries it. --Remuneration !—why, it is a fairer name than French crown. I will never buy and fell out of this word.

Enter BIRON.

Biron. O, my good knave Costard! exceedingly well met.

Cost. Pray you, sir, how much carnation ribbon may a man buy for a remuneration ?

BIRON. What is a remuneration ?
Cost. Marry, fir, half-penny farthing.

Biron. O, why then, three-farthings-worth of filk.

Cost. I thank your worship: God be with you!

Biron. O, stay, llave; I must employ thee:
As thou wilt win my favour, good my knave,
Do one thing for me that I shall en treat.

Cost. When would you have it done, fır?
BIRON, O, this afternoon.

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Again, in Marlowe's Jew of Malta, 1633 :

" While I'in thy incony lap do tumble." Again, in Doctor Dodypoli, a comedy, 1600 : " A cockscomb incony, but that lie wants money.

STEEVENS. There is no such expression in the North as either kong or incony. The word canny, which the people there use, and from which Dr. Warburton's mistake may have arisen, bears a variety of fignifications, none of which is fine, delicate, or applicable to a thing of -value. Dr. Johnson's quotation by no means proves Jew to have been a word of codearment. RITSON.

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Cost. Well, I will do it, fir: Fare you well. .
BIRON. O, thou knoweft not what it is.
Cost. I shall know, fir, when I have done it.
Biron. Why, villain, thou must know first.

Cost. I will come to your worship to-inorrow morning.

BIRON. It must be done this afternoon. Hark, flave, it is but this ;The princess comes to hunt here in the park, And in her train there is a gentle lady; When tongues speak sweetly, then they name her

name, And Rosaline they call her: ask for her ; And to her white hand see thou do commend This seal'd-up counsel. There's thy guerdon ; go.

[ Gives him money. Cost. Guerdon, - sweet guerdon! better than renumeration; eleven-pence farthing better: S Most

8 Coft. Guerdon, O sweet guerdon! better than remuneration, eleven-pence farthing better : &c.] Guerdon, i. e, reward. So, in The Spanish Tragedy:

c Speak on, I'll guerdon thee whate'er it be. Perhaps guerdon is a corruption of regardum, middle Lațin.

The following parallel passage in A Healih to the Gentlemanly Profession of Serving-men, or the Serving-man's Comfort, &c. 1578, was pointed out to me by Dr. Farmer.

is There was, fayth he, a man, (but of what eftate, degree, or calling, I will not name, left thereby I might incurre displeasure of anie,) that comming to his friendes house, who was a gentleman of good reckoning, and being there kindly catertained, and well used, as well of his friende the gentleman, as of his servantes; one of the fayde servantes doing him some extraordinarie pleasure during his abode there, at his departure he comes up to the fayd servant, and faith unto him, Hold thee, here is a renumeration for thy paynes; which the servant receiving, gave him utterly for it (besides his paynes) thankes, for it was but a three-farthings peece: and I holde thankes for the same a {mall price, howsoever the market

sweet guerdon !- I will do it, sir, in print. '-Guera don-remuneration.

[ Exit. BIRON. O!-And I, forsooth, in love! I, that have been love's whip ; A very beadle to a humorous figh; A critick; nay, a night-watch conftable; A domineering pedant o'er the boy, Than whom no mortal so magnificent!' This wimpled, ' whining, purblind, wayward boy;


goes. Now an other coming to the fayd gentleman's house, it was the foresayd fervant's good hap to be neare hiin at his going away, who calling the servant unto him, fayd, Holde thee, here is a guerdon for thy deserts: now the servant payd no deerer for the guerdon, than he did for the remuneration ; though the guerdon was xid. farthing better ; for it was a shilling, and the other but a threefarthinges.

Shakspeare was certainly indebted to this performance for his present vein of jocularity, the earliest edition of Love's Labour's Lost, being printed in 1598. STEEVENS.

in print.] i. e. exaâly, with the utmost nicety. It has been proposed to me to read in point, but I think, without necef. fity, the former expreflion being fill in use.

So, in Blurt Majter Constable, 1602 :

" Next, your ruff must stand in print.Again, in Decker's Honejt Whore, 1635 :

"I am sure my husband is a man in print, in all things else." Again, in Woman is a Weathercock, 1612 :

this doublet fits in print, my lord." STEEVENS, 2 Than whom no mortal so magnificent! ] Magnificent here means, glorying, boasting. M. Mason.

Terence also uses magnifica verba, for vaunting, vainglorious words. Usque adeo illius ferre poffum ineptias la magnifica verba. Eunuch, AX IV. sc. vi. STEEVENS.

3. This wimpled, The wimple was a hood or veil which fell over the face. Had Shakspeare been acquainted with the flammeum of the Romans, or the gem which represents the marriage of Cupid and Psyche, his choice of the cpithet would have been much applauded by all the advocates in favour of his learning. În Isaiah, iii. 22. we find; - the mantles, and the wimples, and

This senior-junior, giant-dwarf, Dan Cupid ;
Regent of love-rhimes, lord of folded arms,

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the crisping-pins;" and, in The Devil's Charter, 1607, to wimple
is used as a verb:

• Here, I perceive a little rivelling
" Above my forehead, but I wimple it,

" Either with jewels, or a lock of bair." STEEVENS.
4 This senior-junior, giant-dwarf, Dan Cupid;] The old read.
ing is -- This fignior Junio's, &c. STEEVENS.

It was some time ago ingeniously hinted to me, (and I readily came into the opinion) that as there was a contrast of terms in giant-dwar), so, probably, there should be in the word immediately preceding them; and therefore that we should restore:

" This senior-junior, giant-dwarf, Dan Cupid. i. e. this old young man. And there is, indeed, afterwards, in this play, a description of Cupid which forts very aptly with such an einendation:

" That was tle way to make his godhead wax,

un For he hath been' five thousand years a boy." The conjecture is exquisitely well imagined, and ought by all means to be embraced, unless there is realon to think, that, in the former reading, there is an allusion to fome tale, or character'in an old play. I have noi, on this account, ventured to difturb tbe text, because there seems to me some reason to fusped, that our author is here alluding to Beaumont and Fletcher's Bonduca. In that tragedy there is a characier of one Junius, a Roman captain, who falls in love to diftra&ion with one of Bonduca's daughters; and becomes an arrant whining Dave to this pallion. He is afterwards cured of his infirmity, and is as absoluie a tyrant against the sex. Now, with regard to these two extremes, Cupid might very probably be styled Junius's giant-dwarf: a giant in his eye, while the dotage was upon him ; but shrunk into a dwarf, so soon as he had got the better of it. THEOBALD.

Mr. Upion has made a very ingenious conje&ure on this passage. He reads :

This Signior Julio's giant-dwarf ----" Shakspeare, says he, intended to compliment Julio Romano, who drew Cupid in the chara&er of a giant-dwarf. Dr. Warburton thinks, that by Junio is meant youth in general. JOHNSON.

There is no reason to suppose that Beaumont and Fletcher's Bonduca was written so early as the year 1598, when this play appeared. Even if it was then published, the supposed allusion is

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The anointed sovereign of sighs and groans,
Liege of all loiterers and malcontents,
Dread prince of plackets,' king of codpieces,

the chara&er of Junius is forced and improbable; and who, in
support of Upton's conjeâure will ascertain, that Julio Romano
ever drew Cupid as a gaint-dwarf? Shakspeare, in K. Richard 111.
A& IV. sc. iv. uses Jignory for seniority; and Stowe's Chronicle,
p. 149. Ediț. 1614. speaks of Edward ihe hgnior, i. e. the elder.
I can therefore suppose that signior here means senior, and not the
Italian tiile of houour. Thus, in the firft folio, at the end of The
Comedy of Errors:

" S. Dro. Not I, fir; you are my elder.
" E. Dro. Thai's a question: how shall we try it?

16 S. Dro. We'll draw cuts for the signior.TOLLET.
In the exaggeration of poetry we might call Cupid a giant-dwarf;
but how a giant-dwarf should be represented in painting, I cannot
well conceive. M. MASON.

If the old copies had exhibited Junior, I should have had no doubt that the second word in the line was only the old spelling of senior, as in a former passage, ( Ac I. sc. ii. ] and in one in The Comedy of Errors quoted by Mr. Tollet; but as the text appears both in the quarto. 1598, and the folio, Cupid is not himlelf called signior, or senior Junio, but a giant-dwarf to (that is, attending upon) signior Junio, and tierefore we must endeavour to explain the words as they fand. In both these copies junio's is printed in Italicks as a proper name.

For the reasons already mentioned, I suppose signior here to have been the Italian iiile of honour, and Cupid to be described as uniting in his person the charaders of both a giant, and a dwarf; a giant on account of his power over mankind, and a dwarf on accouni of his fize; (So afterwards : “ Of his (Cupid's) almighty, dreadful, little might."] and as attending in this double capacity on youth, (personified under the name of Signior Junio,) the age in which the pasion of love lias moft dominion over the heart. In chara&erizing youth by the name of Junio, our author may be countenanced by Ovid, who ascribes to the month of June a similar etymology: Junius a juven

enum nomine di&tus adejl." MALONE. I have not the smallelt doubt that senior-junior is the truc reading. Love among our ancient English poets, (as Dr. Farmer has observed on such another occasion,) is always chara&erized by contrarieties. STEEVENS.

s Dread prince of plackets, ] A placket is a petticoat. Douce.

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