ACT III. ENTER Armado and Moth.] In the folios Line 1. the direction is, Enter Braggart and Moth, and at the beginning of every speech of Armado stands Brag, both in this and the foregoing scene between him and his boy. The other personages of this play are likewise noted by their characters as often as by their names. All this confusion has been well regulated by the later editors. JOHNSON. 2. Concolinel] Here is apparently a song lost. JOHNSON. I have observed in the old comedies, that the songs are frequently omitted. On this occasion the stage direction is generally-Here they sing-or Cantant. Probably the performer was left to choose his own ditty, and therefore it could not with propriety be exhibited as part of a new performance. Sometimes yet more was left to the discretion of the ancient comedians, as I learn from the following circumstance in K. Edward IV. Part II. 1619 :-" Jockey is led whipping over the stage, speaking some words, but of no importance.” Again, in Greene's Tu Quoque, 1599: "Here they two talk and rail what they list." Again, in Decker's Honest Whore, 1635: "He places all things in order, singing with the ends of old ballads as he does it.” Again, in Marston's Dutch Courtesan, 1604: "Cantat Gallice." But no song is set down. Again, in the 5th act: "Cantat saltatque cum Cithara.” Not one out of the many songs supposed to be sung in Marston's Antonio's Revenge, 1602, are inserted; but instead of them, cantant. STEEVENS. 5. festinately hither;] i. e. hastily. Shakspere uses the adjective festinate, in another of his plays. STEEVENS. 7. -a French brawl ?] A brawl is a kind of dance. In the Malcontent of Marston, I meet with the following account of it. "The brawl, why 'tis but two singles to the left, two on the right, three doubles forwards, a traverse of six rounds: do this twice, three singles side galliard trick of twenty coranto pace; a figure of eight, three singles broken down, come up, meet two doubles, fall back, and then honour." Again, in B. Jonson's masque of Time Vindicated:" "The Graces did them footing teach; 46 And, at the old Idalian brawls, "They danc'd your mother down." STBEVENS. So, in Massinger's Picture, act ii. sc. 2. 11. TOLLET. canary to it with your feet,- -] Canary was the name of a spritely nimble dance. THEOBALD. ACT III. Line 1. ENTER Armado and Moth.] In the folios the direction is, Enter Braggart and Moth, and at the beginning of every speech of Armado stands Brag. both in this and the foregoing scene between him and his boy. The other personages of this play are likewise noted by their characters as often as by their names. All this confusion has been well regulated by the later editors. JOHNSON. Concolinel Here is apparently a song -] 2. lost. JOHNSON. I have observed in the old comedies, that the song's are frequently omitted. On this occasion the stage direction is generally-Here they sing or Cantant. Probably the performer was left to choose his own ditty, and therefore it could not with propriety be exhibited as part of a new performance. Sometimes yet more was left to the discretion of the ancient comedians, as I learn from the following circumstance in K. Edward IV. Part II. 1619 :-" Jockey is led whipping over the stage, speaking some words, but of no importance." Again, in Greene's Tu Quoque, 1599: "Here they two talk and rail what they list." Again, in Decker's Honest Whore, 1635: "He places all things in order, singing with the ends of old ballads as he does it." Again, in Marston's Dutch Courtesan, 1604: "Cantat Gallice." But no song is set down. Again, in the 5th act: "Cantat saltatque cum Cithara.” Not one out of the many songs supposed to be sung in Marston's Antonio's Revenge, 1602, are inserted; but instead of them, cantant. STEEVENS. 5. festinately hither;] i. e. hastily. Shakspere uses the adjective festinate, in another of his plays. STEEVENS. 7. —a French brawl?] A brawl is a kind of dance. In the Malcontent of Marston, I meet with the following account of it. "The brawl, why 'tis but two singles to the left, two on the right, three doubles forwards, a traverse of six rounds: do this twice, three singles side galliard trick of twenty coranto pace; a figure of eight, three singles broken down, come up, meet two doubles, fall back, and then honour." Again, in B. Jonson's masque of Time Vindicated:" "The Graces did them footing teach; "And, at the old Idalian brawls, STEEVENS So, in Massinger's Picture, act ii. sc. 2. 11. -canary to it with your feet, was the name of a spritely nimble dance. TOLLET. -] Canary THEOBALD. 19. like a man after the old painting ;was a common trick among some of the most indolent of the ancient masters, to place the hands in the bosom or the pockets, or conceal them in some other part of the drapery, to avoid the labour of representing them, or to disguise their own want of skill to employ them with grace and propriety. 21. STEEVENS. These are complements,- -] Dr. War burton has here changed complements to 'complishments, for accomplishments, but unnecessarily. JOHNSON. —these betray, &c.] The former editors: 22. these betray nice wenches, that would be betray`ď without these, and make them men of note. But who will ever believe, that the odd attitudes and affecta tions 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 too, who affect them. THEOBALD. 30. but a colt,] Colt is a hot, mad-brained, unbroken young fellow; or sometimes an old fellow with youthful desires. JOHNSON. 61. You are too swift, sir, to say so.] The meaning, I believe, is, You do not give yourself time to think, if you say so. Swift, however, means ready at replies. So, in Marston's Malcontent, 1604: "I have eaten but two spoonfuls, and methinks I could discourse both swiftly and wittily already... STEEVENS. |