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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 penny:—No, I'll give you a remuneration: why, 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 Coftard! exceedingly well met.

COST. Pray you, fir, 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, fay, flave; I muft employ thee:
As thou wilt win my favour, good my knave,
Do one thing for me that I fhall entreat.

COST. When would you have it done, fir?
BIRON. O, this afternoon.

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 he wants money.'

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There is no fuch expreffion in the North as either kony or incony. The word canny, which the people there ufe, and from which Dr. Warburton's mistake may have arifen, 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 endearment. RITSON.

COST. Well, I will do it, fir: Fare you well. BIRON. O, thou knoweft not what it is.

COST. I fhall know, fir, when I have done it. BIRON. Why, villain, thou must know firft. COST. I will come to your worship to-morrow 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 fpeak fweetly, then they name her


And Rofaline they call her: afk for her;

And to her white hand fee thou do commend
This feal'd-up counfel. There's thy guerdon; go.

[ Gives him money.

COST. Guerdon,-O fweet guerdon! better than renumeration; eleven-pence farthing better: Most

8 Coft. Guerdon,

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

Speak on, I'll guerdon thee whate'er it be."

Perhaps guerdon is a corruption of regardum, middle Latin. The following parallel paffage in A Health to the Gentlemanly Profeffion of Serving-men, or the Serving-man's Comfort, &c. 1578, was pointed out to me by Dr. Farmer.

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 entertained, and well ufed, as well of his friende the gentleman, as of his fervantes; one of the fayde fervantes doing him fome extraordinarie pleasure during his abode there, at his departure he comes up to the fayd fervant, and faith unto him, Hold thee, here is a renumeration for thy paynes; which the fervant receiving, gave him utterly for it (befides his paynes) thankes, for it was but a three-farthings peece: and I holde thankes for the fame a small price, howfoever the market

fweet guerdon !I will do it, fir, in print. 9-Guerdon-remuneration.

[ Exit. BIRON. O!—And I, forfooth, 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 fo magnificent! *
This wimpled,' whining, purblind, wayward boy;

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

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


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in print.] i. e. exadly, with the utmoft nicety. It has been propofed to me to read in point, but I think, without necef


fity, the former expreffion being ftill in ufe.
So, in Blurt Mafter Conftable, 1602:
"Next, your ruff muft ftand in print."
Again, in Decker's Honeft Whore, 1635:

i am fure my husband is a man in print, in all things elfe." Again, in Woman is a Weathercock, 1612:

this doublet fits in print, my lord."


2 Than whom no mortal fo magnificent!] Magnificent here means, glorying, boafting. M. MASON.

Terence alfo ufes magnifica verba, for vaunting, vainglorious words. Ufque adeo illius ferre poffum ineptias & magnifica verba. Eunuch, A& IV. fc. vi.


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 reprefents the marriage of Cupid and Pfyche, his choice of the epithet would have been much applauded by all the advocates in favour of his learning. In Ifaiah, iii. 22. we find: the mantles, and the wimples, and

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

the crifping-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 hair."


4 This fenior-junior, giant-dwarf, Dan Cupid;] The old read

ing is. This fignior Junio's, &c. STEEVENS.

It was fome time ago ingeniously hinted to me, (and I readily came into the opinion) that as there was a contraft of terms in giant-dwarf, fo, probably, there fhould be in the word immediately preceding them; and therefore that we fhould restore:

This fenior-junior, giant-dwarf, Dan Cupid."


e. this old young man.

And there is, indeed, afterwards, in this play, a defcription of Cupid which forts very aptly with fuch an emendation:

"That was the way to make his godhead wax,

"For he hath been five thousand years a boy.

The conjecture is exquifitely well imagined, and ought by all means to be embraced, unlefs there is reafon to think, that, in the former reading, there is an allufion to fome tale, or chara&er'in an old play. I have not, on this account, ventured to disturb the text, because there feems to me fome reafon to fufpe&t, that our author is here alluding to Beaumont and Fletcher's Bonduca. In that tragedy there is a chara&er of one Junius, a Roman captain, who falls in love to distraction with one of Bonduca's daughters; and becomes an arrant whining flave to this paffion. He is afterwards cured of his infirmity, and is as abfolute a tyrant against the fex. Now, with regard to these two extremes, Cupid might very probably be ftyled Junius's giant-dwarf: a giant in his eye, while the dotage was upon him; but fhrunk into a dwarf, fo foon as he had got

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Mr. Upton has made a very ingenious conjecture on this paffage. He reads:

This fignior Julio's giant-dwarf" Shakspeare, fays 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 fuppofe that Beaumont and Fletcher's Bonduca was written fo early as the year 1598, when this play appeared. Even if it was then published, the fuppofed allufion to

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The anointed fovereign of fighs and groans,
Liege of all loiterers and malcontents,

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Dread prince of plackets, king of codpieces,

the charader of Junius is forced and improbable; and who, in fupport of Upton's conjedure will afcertain, that Julio Romano ever drew Cupid as a gaint-dwarf? Shakspeare, in K. Richard III. A& IV. fc. iv. ufes fignory for feniority; and Stowe's Chronicle, p. 149. Edit. 1614. fpeaks of Edward the fignior, i. e. the elder. I can therefore fuppofe that fignior here means fenior, and not the Italian title of honour. Thus, in the firft folio, at the end of The Comedy of Errors:

S. Dro. Not I, fir; you are my elder.

"E. Dro. That's a queftion: how fhall we try it?

S. Dro. We'll draw cuts for the fignior." TOLLET.

In the exaggeration of poetry we might call Cupid a giant-dwarf; but how a giant-dwarf fhould be reprefented in painting, I cannot well conceive. M. MASON.

If the old copies had exhibited Junior, I fhould have had no doubt that the fecond word in the line was only the old fpelling of fenior, as in a former paffage, [Act I. fc. 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 himself called fignior, or fenior Junio, but a giant-dwarf to [that is, attending upon] fignior Junio, and therefore we must endeavour to explain the words as they fland. In both thefe copies Junio's is printed in Italicks as a proper name.

For the reafons already mentioned, I fuppofe fignior here to have been the Italian title of honour, and Cupid to be defcribed as uniting in his perfon the charaders of both a giant, and a dwarf; a giant on account of his power over mankind, and a dwarf on account of his fize; [So afterwards: "Of his (Cupid's) almighty, dreadful, little might."] and as attending in this double capacity on youth, (perfonified under the name of Signior Junio,) the age in which the paffion of love has most dominion over the heart. chara&erizing youth by the name of Junio, our author may be countenanced by Ovid, who afcribes to the month of June a fimilar etymology:

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Junius a juvenum nomine dictus adeft." MALONE.


I have not the fmalleft doubt that fenior-junior is the true reading. Love among our ancient English poets, (as Dr. Farmer has obferved on fuch another occafion,) is always characterized by contrarieties. STEEVENS.

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

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