And pray her to a fault for which I chid her.
What fool is she, that knows I am a maid,
And would not force the letter to my view!
Since maids, in modesty, say No to that
Which they would have the profferer construe Ay.
Fie, fie! how wayward is this foolish love,
That, like a testy babe, will scratch the nurse,
And presently, all humbled, kiss the rod !
How churlishly I chid Lucetta hence,
When willingly I would have had her here!
How angerly I taught my brow to frown,
When inward joy enforc'd my heart to smile!
My penance is, to call Lucetta back,
And ask remission for my folly past :-
What ho! Lucetta!(4)

Give me a note: your ladyship can set.a

JUL. As little by such toys as may be possible: Best sing it to the tune of Light o' love. (5)

Luc. It is too heavy for so light a tune.
JUL. Heavy? belike it hath some burthen then. (6)
Luc. Ay; and melodious were it, would you
sing it.

JUL. And why not you?
Luc.
I cannot reach so high.
JUL. Let's see your song;-How now, minion?

Your ladyship can set.] "When Lucetta says 'Give me a nete [to sing to]: your ladyship can set [a song to music],' it adds one more to the many proofs of the superior cultivation of the science in those days. We should not now readily attribute to ladies, even to those who are generally considered to be well educated and accomplished, enough knowledge of harmony to enable them to set a song correctly to music, however agile their fingers may be."-CHAPPELL's Popular Music of the Olden Time, P. 221.

bToo harsh a descant:] "The name of Descant is usurped of the musicians in divers significations; sometime they take it for the whole harmony of many voices; others sometime, for one of the voices or parts. Last of all, they take it for singing a part extempore upon a plain song, in which sense we commonly use

lie:

Go, get you gone; and let the papers
You would be fingering them, to anger me.
Luc. She makes it strange; but she would be
best pleas'd

To be so anger'd with another letter.

[Exit.

JUL. Nay, would I were so anger'd with the

same !

O hateful hands, to tear such loving words!
Injurious wasps! to feed on such sweet honey,
And kill the bees, that yield it, with your stings!
I'll kiss each several paper for amends.
Look, here is writ-kind Julia :-unkind Julia!
As in revenge of thy ingratitude,

I throw thy name against the bruising stones,
Trampling contemptuously on thy disdain.
And, here is writ-love wounded Proteus :-
Poor wounded name! my bosom, as a bed,
Shall lodge thee, till thy wound be throughly
heal'd;

And thus I search it with a sovereign kiss.
But twice, or thrice, was- -Proteus-written down:
Be calm, good wind, blow not a word away,
Till I have found each letter in the letter,
Except mine own name: that some whirlwind bear
Unto a ragged, fearful, hanging rock,
And throw it thence into the raging sea!
Lo, here in one line is his name twice writ,-
Poor forlorn Proteus, passionate Proteus,
To the sweet Julia; that I'll tear away;
And yet I will not, sith so prettily
He couples it to his complaining names;
Thus will I fold them one upon another:
Now kiss, embrace, contend, do what you will.

it."-MORLEY's Plain and Easy Introduction io Practical Music,

1597.

The mean-] That is, the intermediate part between the tencr and the treble. d Your unruly base.] The original has, "you unruly base." The alteration was made in the second folio.

• Nay, would I were so anger'd with the same !] It is surprising that no one has hitherto pointed out the inconsistency of Julia's replying to an observation evidently intended to be spoken by her attendant aside, or remarked the utter absence of all meaning in such reply. I have little doubt that the line above is part of Lucetta's side speech. The expression of the wish "would I were so anger'd with the same!" from her is natural and consistent. In the mouth of her mistress it seems senseless and absurd

Luc. What, shall these papers lie like telltales here?

JUL. If you respect them, best to take them up. Luc. Nay, I was taken up for laying them down: Yet here they shall not lie, for catching cold.

JUL. I see you have a month's mind (8) to them. Luc. Ay, madam, you may say what sights you see;

I see things too, although you judge I wink.
JUL. Come, come, will 't please you go?

SCENE III.-The same.

[Exeunt.

A Room in Antonio's House.

Enter ANTONIO and PANTHINO.

ANT. Tell me, Panthino," what sad talk was that,

Wherewith my brother held you in the cloister? PAN. "T was of his nephew Proteus, your son. ANT. Why, what of him?

PAN.
He wonder❜d that your lordship
Would suffer him to spend his youth at home;
While other men, of slender reputation,
Put forth their sons to seek preferment out:
Some, to the wars, to try their fortune there;
Some, to discover islands far away;
Some, to the studious universities.
For any, or for all these exercises,

He said that Proteus, your son, was meet:
And did request me to impórtune you,
To let him spend his time no more at home,
Which would be great impeachment to his age,
In having known no travel in his youth.

ANT. Nor need'st thou much impórtune me to

that

Whereon this month I have been hammering.
I have consider'd well his loss of time;
And how he cannot be a perfect man,
Not being try'd and tutor❜d in the world:
Experience is by industry achiev'd,
And perfected by the swift course of time:
Then, tell me, whither were I best to send him?
PAN. I think your lordship is not ignorant,

a For catching cold.] i. e. for fear of catching cold. A mode of expression very common in our author's day.

b Panthino,-] In the list of persons represented in the old copy this name is spelt Panthion. In the play, Act I. Sc. 3, he is designated Panthino; and in Act II. Sc. 3, Panthion.

How his companion, youthful Valentine, Attends the emperor in his royal court.

ANT. I know it well.

PAN. 'T were good, I think, your lordship sent him thither:

There shall he practise tilts and tournaments,
Hear sweet discourse, converse with noblemen;
And be in eye of every exercise,

Worthy his youth and nobleness of birth.

ANT. I like thy counsel; well hast thou advis'd:
And, that thou mayst perceive how well I like it,
The execution of it shall make known:
Even with the speediest expedition,

I will despatch him to the emperor's court.
PAN. To-morrow, may it please you, Don
Alphonso,

With other gentlemen of good esteem,
Are journeying to salute the emperor,
And to commend their service to his will.

ANT. Good company; with them shall Proteus go:

And,-in good time."-Now will we break with him.

Enter PROTEUS.

PRO. Sweet love! sweet lines! sweet life!
Here is her hand, the agent of her heart;
Here is her oath for love, her honour's pawn:
O, that our fathers would applaud our loves,
To seal our happiness with their consents!
O, heavenly Julia!

ANT. How now? what letter are you reading there?

PRO. May 't please your lordship, 't is a word or two

Of commendation sent from Valentine,

Deliver❜d by a friend that came from him.

ANT. Lend me the letter; let me see what

news.

PRO. There is no news, my lord; but that he writes

How happily he lives, how well-belov'd,
And daily graced by the emperor

Wishing me with him, partner of his fortune.
ANT. And how stand you affected to his wish?
PRO. As one relying on your lordship's will,

And not depending on his friendly wish.

ANT. My will is something sorted with his wish:

Muse not that I thus suddenly proceed;
For what I will, I will, and there an end.

I am resolv'd that thou shalt spend some time

With Valentinus in the emperor's court;
What maintenance he from his friends receives,
Like exhibition thou shalt have from me.
To-morrow be in readiness to go:
Excuse it not, for I am peremptory.

PRO. My lord, I cannot be so soon provided; Please you, deliberate a day or two.

ANT. Look, what thou want'st shall be sent after thee:

No more of stay; to-morrow thou must go.-
Come on, Panthino; you shall be employ'd
To hasten on his expedition.

[Exeunt ANT. and PAN.

Pao. Thus have I shunn'd the fire, for fear of burning;

And drench'd me in the sea, where I am drown'd:

Like exhibition-] Pension, allowance.

b0, how this spring of love resembleth-] Resembleth Mr. Tyr

Enter VALENTINE and SPEED.

SPEED. Sir, your glove.

VAL. Not mine; my gloves are on. SPEED. Why, then this may be yours, for this is but one."

VAL. Ha! let me see: ay, give it me, it's mine:

Sweet ornament, that decks a thing divine!
Ah Silvia! Silvia!

SPEED. Madam Silvia! madam Silvia!
VAL. How now, sirrah?

SPEED. She is not within hearing, sir.
VAL. Why, sir, who bade you call her?
SPEED. Your worship, sir; or else I mistook.
VAL. Well, you'll still be too forward.

SPEED. And yet I was last chidden for being too slow.

VAL. Go to, sir; tell me, do you know madam Silvia ?

a For this is but one.] On and one were formerly pronounced alike, not I believe as on, but as own. Hence Speed's quibble. See note in "King John," Act III. Sc. 3,

SPEED. She that your worship loves?

VAL. Why, how know you that I am in love? SPEED. Marry, by these special marks: First you have learned, like sir Proteus, to wreath your arms like a malcontent; to relish a love-song, like a robin-redbreast; to walk alone, like one that had the pestilence; to sigh, like a schoolboy that had lost his A B C; to weep, like a young wench that had buried her grandam; to fast, like one that takes diet; to watch, like one that fears robbing; to speak puling, like a beggar at Hallowmas.(1) You were wont, when you laughed, to crow like a cock; when you walked, to walk like one of the lions; when you fasted, it was presently after dinner; when you looked sadly, it was for want of money: and now you are metamorphosed with a mistress, that, when I look on you, I can hardly think you my master.

VAL. Are all these things perceived in me?
SPEED. They are all perceived without ye.

"Sound one into the drowsy race of night." b Like one that takes diet;] One under regimen for the restoration of health.

VAL. Without me?" they cannot.

SPEED. Without you? nay, that's certain, for without you were so simple, none else would ; but you are so without these follies, that these follies are within you, and shine through you like the water in an urinal; that not an eye that sees you, but is a physician to comment on your malady.

VAL. But tell me, dost thou know my lady Silvia?

SPEED. She that you gaze on so, as she sits at supper?

VAL. Hast thou observed that? even she I mean. SPEED. Why, sir, I know her not.

VAL. Dost thou know her by my gazing on her, and yet know'st her not?

SPEED. Is she not hard favoured, sir?
VAL. Not so fair, boy, as well favoured.
SPEED. Sir, I know that well enough.
VAL. What dost thou know?

SPEED. That she is not so fair as (of you) well favoured.

VAL. I mean, that her beauty is exquisite, but her favour infinite.

SPEED. That's because the one is painted, and the other out of all count.

VAL. How painted? and how out of count? SPEED. Marry, sir, so painted, to make her fair, that no man counts of her beauty.

VAL. How esteemest thou me? I account of her beauty.

SPEED. You never saw her since she was deformed.

VAL. How long hath she been deformed?
SPEED. Ever since you loved her.

VAL. I have loved her ever since I saw her; and still I see her beautiful.

SPEED. If you love her, you cannot see her.
VAL. Why?

SPEED. Because love is blind. O, that you had mine eyes; or your own eyes had the lights they were wont to have when you chid at sir Proteus for going ungartered!4

VAL. What should I see then?

Without me?] The equivoque consists in Speed's using the word without to signify his master's exterior, personal demeanour, &c., and Valentine taking it in the sense of non-existence, absence, &c., as, how could these peculiarities be seen in me unless I myself am present? In the next passage, Speed uses the word in its meaning of unless.

b None else would;] "None else would be so simple," says Johnson; and this appears to be what is implied.

e I account of her beauty.] i. e. I value, estimate, appreciate. "There dwelled sometime in the citie of Rome a baker named Astatio, who for his honest behaviour was well accounted of amongst his neighbours."-TARLTON's Newes out of Purgatorie.

For going ungartered!] Negligence of dress, time out of mind, has been considered symptomatical of love, and going usgartered, an infallible and characteristic mark of Cupid's sworn liegemen.

• Cannot see to put on your hose.] The allusion, whatever it was, which gave point here, has evaporated, or a word on which to hang a quibble been misprinted.

10 excellent motion! O'exceeding puppet!] Motion, the commentators say, meant a puppet-show, which is true; but assuredly it was also often used to signify one of the figures in

VAL. Belike, boy, then you are in love; for last morning you could not see to wipe my shoes. SPEED. True, sir; I was in love with my bed:

I thank you, you swinged me for my love, which makes me the bolder to chide you for yours.

VAL. In conclusion, I stand affected to her. SPEED. I would you were set; so your affection would cease.

VAL. Last night she enjoined me to write some lines to one she loves.

SPEED. And have you?

VAL. I have.

SPEED. Are they not lamely writ?

VAL. No, boy, but as well as I can do them; -Peace! here she comes.

Enter SILVIA.

SPEED. O excellent motion! O exceeding puppet!

Now will he interpret to her."

VAL. Madam and mistress, a thousand good

morrows.

SPEED. O, give ye good ev'n! here's a million of manners. [Aside. SIL. Sir Valentine and servant, (2) to you two thousand.

SPEED. He should give her interest, and she gives it him.

VAL. As you enjoin'd me, I have writ your letter Unto the secret nameless friend of yours; Which I was much unwilling to proceed in, But for my duty to your ladyship.

SIL. I thank you, gentle servant: 't is very clerkly done.

VAL. Now trust me, madam, it came hardly off; For, being ignorant to whom it goes,

I writ at random, very doubtfully.

SIL. Perchance you think too much of so much pains ?

it. Thus in "Measure for Measure," Act III. Sc. 2, Lucio, speaking of Angelo, calls him "a motion generative." So, too, in "Pericles," Act. V. Sc. 1:—

"Have you a working pulse? and are no fairy?
No motion?"

In the present case, Speed terms Silvia a motion and a puppet, because of her diminutive appearance. In "A MidsummerNight's Dream," Act III. Sc. 2, Helena terms Hermia a puppet, whereupon the latter exclaims

"Puppet! why so? Ay, that way goes the game,
Now I perceive that she hath made compare
Between our statures."

So too in Massinger's play, "The Duke of Milan," Act II. Sc. 1, the tall Marcelia taunts the dwarfish Mariana-"For you, puppet-" which the latter retorts with-"What of me, pinetree?"

g Interpret to her.] A motion or puppet-show was not complete without the interpreter, who probably sat behind the scenes and furnished the dialogue.