Don Pedro and the count Claudio, alone: tell them,
that
you know that Hero loves me; intend a kind of
zeal' both to the prince and Claudio, as-in love of
your brother's honour who hath made this match;
and his friend's reputation, who is thus like to be
cozen'd with the femblance of a maid,
- that you
have discover'd thus. They will scarcely believe
this without trial: offer them inftances; which fhall
bear no lefs likelihood, than to fee 'me at her
chamber-window; hear me call Margaret, Hero;
hear Margaret term me Borachio; and bring them
to fee this, the very night before the intended wed-
ding: for, in the mean time, I will fo fashion the

circumftances weighed, there is no doubt but the passage ought to be reformed, as I have settled in the text hear me call Margaret, Hero; hear Margaret term me, Borachio.

THEOBALD.

Though I have followed Mr. Theobald's direction, I am not convinced that this change of names is abfolutely neceffary. Claudio would naturally refent the circumftance of hearing another called by his own name; because, in that cafe, bafeness of treachery would appear to be aggravated by wantonnefs of infult; and, at the fame time he would imagine the perfon fo diftinguished to be Borachio, because Don John was previoufly to have informed both him and Don Pedro, that Borachio was the favoured lover.

STEEVENS.

We should furely read Borachio inftead of Claudio. There could be no reason why Margaret should call him. Claudio; and that would ill agree with what Borachio fays in the last Act, where he declares that Margaret knew not what he did when he spoke to him. M. MASON.

Claudio would naturally be enraged to find his miftrefs, Hero, (for fuch he would imagine Margaret to be,) address Borachio, or any other man, by his name, as he might fuppofe that fhe called him by the name of Claudio in confequence of a fecret agreement between them, as a cover, in cafe fhe were overheard; and he would know, without a poffibility of error, that it was not Claudio, with whom in fact fhe converfed. MALONE.

Richard III:

intend a kind of zeal —] i. c. pretend. So, in King

Intending deep fufpicion." STEEVENS,

matter, that Hero fhall be abfent; and there fhall appear fuch feeming truth of Hero's difloyalty, that jealousy shall be call'd affurance, and all the preparation overthrown.

D. JOHN. Grow this to what adverse iffue it can, I will put it in practice: Be cunning in the working this, and thy fee is a thousand ducats.

BORA. Be you conftant in the accufation, and my cunning fhall not fhame me.

D. JOHN. I will presently go learn their day of marriage. [Exeunt.

SCENE III.

LEONATO's Garden.

Enter BENEDICK and a Boy.

BENE. Boy,

Boy. Signior.

BENE. In my chamber-window lies a book; bring it hither to me in the orchard.

Boy. I am here already, fir.

BENE. I know that; but I would have thee hence, and here again. wonder, that one man, man is a fool when he dedicates his behaviours to love, will, after he hath laugh'd at fuch fhallow follies in others, become the argument of his own scorn, by falling in love: And fuch a man is Claudio. I, have known, when there was no mufick with him

[Exit Boy.] I do much feeing how much another

in the orchard.] Gardens were anciently called orchards, So, in Romeo and Juliet:

"The orchard walls are high, and hard to climb."

STEEVENS.

but the drum and the fife; and now had he rather hear the tabor and the pipe: I have known, when he would have walk'd ten mile afoot, to fee a good armour; and now will he lie ten nights awake, carving the fafhion of a new doublet. 7 He was wont to fpeak plain, and to the purpofe, like an honeft man, and a foldier; and now is he turn'd orthographer; his words are a very fantaftical banquet, juft fo many' ftrange difhes. May I be fo converted, and fee with thefe eyes? I cannot tell; I think not: I will not be fworn, but love may transform me to an oyfter; but I'll take my oath on it, till he have made an oyfter of me, he fhall never make me fuch a fool. One woman is fair; yet I am well: another

carving the fashion of a new doublet. ] This folly, so confpicuous in the gallants of former ages, is laughed at by all our comic writers. So, in Greene's Farewell to Folly, 1617: 6 — We are almost as fantastic as the English gentleman that is painted naked, with a pair of fheers in his hand, as not being refolved after what fashion to have his coat cut." STEEVENS.

Alas!
I perceive it

The English gentleman in the above extract alludes to a plate in Borde's Introduction of Knowledge. In Barnaby Riche's Faults and nothing but Faults, 4to. 1606, p. 6, we have the following account of a Fashionmonger: here comes firft the Fashionmonger that spends his time in the contemplation of futes. good gentleman, there is fomething amiffe with him. by his fad and heavie countenance: for my life his tailer and he are at fome fquare about the making of his new fute; he hath cut it after the old ftampe of fome ftale fashion that is at the least of a whole fortnight's ftanding." REED.

The English gentleman is reprefented by Borde] naked, with a pair of tailor's fheers in one hand, and a piece of cloth on his arm, with the following verfes :

"I am an Englishman, and naked I ftand here,

Mufing in my mynde what rayment I fhall were,
"For now I will ware this, and now I will were that,
"Now I will were I cannot tell what," &c.

See Camden's Remaines, 1614, p. 17. . MALONE.

8

orthographer; ] The old copies read-orthography. Corrected by Mr. Pope. STEEVENS.

is wife; yet I am well; another virtuous; yet. I am well: but till all graces be in one woman, one woman fhall not come in my grace. Rich the fhall be, that's certain; wife, or I'll none; virtuous, or I'll never cheapen her;. fair, or I'll never look on her; mild, or come not near me; noble, or not I for an angel, of good difcourfe, an excellent mufician, and her hair fhall be of what colour it pleafe God. Ha! the prince and monfieur Love! I will hide me in the arbour. [ Withdraws.

9

and her hair fhall be of what colour ie pleafe God. ] Perhaps Benedick alludes to a fashion, very common in the time of Shakspeare, that of dying the hair.

Stubbes, in his Anatomy of Abuses, 1595, fpeaking of the attires of women's heads, fays: “If any have haire of her owne naturall growing, which is not faire ynough, then will they die it in divers colours." STEEVENS.

The practice of dying the hair was one of thofe fashions fo frequent before and in Queen Elizabethi's time, as to be thought worthy of particular animadverfion from the pulpit. In the Homily against excefs of apparel, b. 1. 1547, after mentioning the common excufes of fome nice and vain women for painting their faces, dying their hair, &c. the preacher breaks out into the following invedive : "Who can paynt her face, and curle her heere, and chaunge it into an unnaturall colourd, but therein doth worke reprofe to her maker who made her? as thoughe fhe coulde make herfelfe more comelye than God hath appoynted the measure of her beautie. What do these women but go about to refourme that which God hath made? not knowyng that all thynges naturail is the worke of God: and thynges difguyfed and unnatural, be the workes of the devyll," &c. REED.

Or he may allude to the fashion of wearing false hair, "of whatever colour it pleafed God." So, in a fubfequent fcene: "I like the new tire within, if the hair were a thought browner." Fines Moryfon, defcribing the drefs of the ladies of Shakspeare's time, fays, "Gentlewomen virgins weare gownes clofe to the body, and aprons of fine linnen, and go bare headed, with their hair curiously knotted, and raised at the forehead, but many (against the cold, as they fay, weare caps of hair that is not their own." See The Two Gentlemen of Verona. MALONE.

The practice of colouring the hair in Shakspeare's time, receives confiderable illuftration from Maria Magdalene her Life and

Enter Don PEDRO, LEONATO, and CLAUDIO.

D. PEDRO. Come, fhall we hear this musick? CLAUD. Yea, my good lord: How ftill the evening is,

As hufh'd on purpose to grace harmony!

D. PEDRO. See you where Benedick hath hid himself?

CLAUD. O, very well, my lord: the mufick ended, 'We'll fit the kid-fox with a penny-worth. *

Repentance, 1567, where Infidelitie (the Vice) recommends her to a goldsmith to die her hair yellow with fome preparation, when it fhould fade; and Carnal Concupifcence tells her likewise that there "other geare befides goldfmith's water," for the purpose.

was

2 Pedro. See you where Benedick hath hid himself? Claudio, 0, very well, my lord: the mufick ended,

DOUCE.

We'll fit the kid-fox with a penny-worth. ] i. e. we will be even with the fox now discovered. So the word kid, or kidde, fignifies

in Chaucer :

"The foothfaftnefs that now is hid,

"Without coverture fhall be kid.

"When I undoen have this dreming."

"Perceiv'd or fhew'd.

Romaunt of the Rofe, 2171, &c.

Troilus and Creffeide, lib. i. 208,

"He kidde anon his bone was not broken."

"With that anon fterte out daungere,
"Out of the place where he was hidde;
"His malice in his cheere was kidde."

Romaunt of the Rofe, 2130.

GREY.

It is not impoffible but that Shakspeare chose on this occafion to employ an antiquated word; and yet if any future editor should choose to read. hid fox, he may obferve that Hamlet has faid "Hide fox and all after." STEEVENS.

Dr. Warburton reads as Mr. Steevens proposes. MALONE. A kid-fox feems to be no more than a young fox or cub. jou Like it, we have the expreffion of

two dog-apes."

In As

RITSON.