whoever the king favours, The cardinal instantly will find employmentwhere we should expect the addition of for.

261. Line 167: Come, come, my lord, you'd spare your spoons. - Spoons were in Shakespeare's time, as (says Schmidt) they are to this day in Germany, the usual gifts of the sponsors at a christening. Those who could afford it gave twelve gilt spoons, called "apostle spoons," because the figures of the apostles were carved on the handles. See the numerous references from contemporary literature given in the Variorum Ed. xix. 480-482. In Middleton's Chaste Maid in Cheapside, iii. 2, there is a very interesting and instructive christening scene, in which "Enter Sir Walter Whorehound, carrying a silver standing-cup and two spoons."

Sir Wal. A poor remembrance, lady,
To the love of the babe; I pray, accept of it.

[Giving cup and spoons.
Mis. All. O, you are at too much charge, sir!
2nd. Gos. Look, look, what has he given her?

What is 't, gossip?

3rd. Gos. Now, by my faith, a fair high standing-cup.

And two great 'postle spoons, one of them gilt.

1st. Pur. Sure that was Judas then with the red beard. 262. Line 175: Good man, those joyful tears show thy true HEART.-So F. 2; F. 1 has hearts.

ACT V. SCENE 4.

263. Line 2: do you take the court for PARISH-GARDEN?— The Paris-garden was a bear garden on the Bankside at Southwark, so called from Robert de Paris, who had a house and garden there in the time of Richard II. It was near the Globe Theatre, and in a line with Bridewell. Compare Dekker, Gull's Hornbook, ch. i.: "How wonderfully is the world altered! And no marvel, for it has lain sick almost five thousand years; so that it is no more like the old theatre du monde, than old Paris Garden is like the King's Garden at Paris." I have retained Parishgarden (the reading of F. 1, F. 2, F. 3) as a characteristic vulgarism of the Porter's; F. 4 has Paris-garden, which is of course the correct word. Porters are not always correct speakers, as I can testify in reference to a certain gatekeeper who prefers to speak of the Comte de Paris as "the Paris count."

264. Line 3: leave your GAPING. - The word gape has lost part of the sense it once had, which was, not merely to open the mouth wide, but to shout with open mouth, to bawl. Boyer, French Dictionary, has (s. v. Gape) "He ever gapes, (or bawls) when he speaks, Il crie, ou criaille toujours quand il parle." In Merchant of Venice, iv. 1. 47, 54, "a gaping pig," it is not certain whether the word is used in this sense or whether it refers to roast pig as served at table.

noted,' says Stowe, 'that K. Henry the Eighth, in the 7th of his raigne, on May-day in the morning, with queene Katheren his wife, rode a Maying from Greenwitch to the high ground of Shooter's hill' (Survey of London, p. 72, where some curious sports then devised for him are described). Stowe says also, 'In the moneth of May the citizens of London of all estates, lightly in every parish, or sometimes two or three parishes together, had their several Mayings, and did fetch in May-poles,' &c. (p. 73).” See Twelfth Night, note 217.

266. Line 16: Paul's. -So F. 4: the earlier Ff. have Powles, which may perhaps be a vulgarism like Parishgarden above, but is more probably a mere variation in spelling.

267. Lines 22, 23:

I am not Samson, nor SIR GUY, nor COLBRAND,
To mow 'em down before me.

One of the famous exploits of Guy of Warwick was his encounter with the Danish giant Colbrand at Winchester. Sir Guy is said to have been the son of Siward, baron of Wallingford, and to have become Earl of Warwick through marriage with Felicia, daughter of Rohand, a warrior of the time of Alfred. He was nine feet high, and his sword, shield, breastplate, helmet, and staff are still to be seen in the Porter's Lodge at Warwick Castle, together with some of the gigantic bones of the dun cow which he killed at Dunsmore Heath, and other relics, no doubt equally authentic. His "porridge-pot" (capable of containing 102 gallons) is in the Great Hall. After his battle with Colbrand Sir Guy retired to a hermitage at Guy's Cliff, where he died in 929. The metrical romance of Guy of Warwick (Auchinleck and Caius MSS.) was edited by Professor Kölbing for the Early English Text Society in 1883 and 1887.

268. Lines 26, 27:

Let me ne'er hope to see a chine again;

And that I would not for a cow, God save her! Staunton says: The expression, my cow, God save her!' or my mare, God save her!' or 'my sow, God save her!' appears to have been proverbial; thus, in Greene and Lodge's Looking Glasse for London, 1598, 'my blind mare, God bless her!'" Dyce quotes from a writer in the Literary Gazette of January 25, 1862, who states that a similar phrase is in common use to-day in the south of England. "Oh! I would not do that for a cow, save her tail,' may still be heard in the mouths of the vulgar in Devonshire." This quite disposes of the delicate suggestion of Collier's MS. Corrector, who for chine substituted queen, and for cow, crown. In a communication to Notes and Queries, 7th Ser. vol. iv. Oct. 15, 1887, W. C. M. B. writes: "[The passage in the text is] an allusion to a vulgar saying, common then, viz.: A cow and a queen have one time.' Something of the sort I fancy I have heard myself, and Barnaby Googe, 1578, alludes to it as common; while it is of that rustic humour likely to be widely known and used without appearing in print, except as it may here, by allusion."

269. Lines 34, 35: or have we SOME STRANGE INDIAN with THE GREAT TOOL COME to court?-Mr. Robert Boyle, in his paper on Henry VIII., already quoted from, has an in

teresting conjecture in connection with this line. After stating that in the Ff. the word "tool" is printed Toole (in italics, and beginning with a capital) after the manner of proper names, Mr. Boyle remarks: "There must evidently be some allusion intended. Now in Middleton's Fair Quarrel, which appeared in 1617, we have, Act IV. scene iv.:

I yield; the great O Toole shall yield on these conditions. Dyce explains in a note that, in 1622, Arthurus Severus O Toole was the subject of a poem by Taylor the Water Poet, to which a portrait of the celebrated Irishman is prefixed. His youth had been devoted to Mars, and his old age to the town of Westminster, which was at the date of the poem honoured with his residence.

"In Middleton's Fair Quarrel an Indian is mentioned in the same scene a little earlier How I and my Amazon stripped you as naked as an Indian.' That Middleton was poking his coarse fun at the comical Irishman is plain. What has escaped all commentators till now is, that Fletcher is doing exactly the same in Henry VIII. In 1611 five Indians came to England. In 1614 three of them returned, one went to the Continent, one died and was exhibited as a show. The allusion in the text is probably to the latter. But we must not forget that in the year 1617 there was much talk of the Indians. In that year the famous Pocahontas came over to England, and was presented to the queen ('come to court') by the equally famous Captain Smith."

In the argument to his poem in honour of the Irishman Taylor says: "The Great O Toole, is the toole that my Muse takes in hand" (Works, Spenser Society ed. p. 176). A good deal of chaff-about four pages of the Spenser Society's folio reprint is devoted to him, but few biographical details are given. The context, certainly, in the Porter's speech in Henry VIII. suggests another explanation, but the printing of Toole as though it were a surname scarcely seems likely to have been accidental. Probably enough there is a play on the two senses in which the word might be taken.

270 Line 46: fire-drake.—Coles, in his Latin Dictionary, has "A fire drake [meteor] draco volans." The word means a fiery dragon, and was used both for a meteor and for the will-o'-the-wisp, as well as metaphorically for a man with a fiery face. Halliwell quotes Fulke's Meteors, 1670: "flying dragons, or as Englishmen call them, firedrakes" (p. 67).

271. Line 49: a haberdasher's wife of small wit.- Malone points out that this same expression occurs in the Induction to Ben Jonson's Magnetic Lady: " And all haberdashers of small wit, I presume.'

272. Line 50: till her PINK'D PORRINGER fell of her head. -Compare Taming of the Shrew, iv. 3. 63-70:

Hab. Here is the cap your worship did bespeak.
Pet. Why this was moulded on a porringer.

Away with it! come, let me have a bigger.

Kath. I'll have no bigger: this doth fit the time,
And gentlewomen wear such caps as these.

Pinked means pierced in small holes. Coles, in his Latin
Dictionary, has "To pink, perfero; pinked, pertusus."
Halliwell, in his Folio edition, gives a cut illustrative of

porringer caps. He quotes from Fairholt: "This seems to be an allusion to the Milan bonnet extremely fashionable at this period. They were generally made of velvet, and certainly bore an unlucky resemblance to an inverted porringer.

273. Lines 58-61: suddenly a file of boys behind 'em, loose shot, deliver'd such a shower of pebles, that I was fain to draw mine honour in, and let 'em win the work.— Taylor, writing before 1617, thus describes the prowess of London "youths" who "put Play-houses to the sacke," &c. : "What auailes it for a Constable with an army of reuerend rusty Bill-men to command peace to these beasts, for they with their pockets in stead of Pistols, well char'd [sic] with stone-shot, discharge against the Image of Authority, whole volleys as thicke as hayle, which robustious repulse puts the better sort to the worser part, making the band of unscowred Halberdiers retyre faster than ever they came on, and shew exceeding discretion in prouing tall men of their heeles" ("Jack-a-Lent," in Taylor's Works, Spenser Soc. ed. p. 125).

274. Lines 63-67: These are the youths that thunder at a playhouse, and fight for bitten apples; that no audience, but THE TRIBULATION OF TOWER-HILL, or THE LIMBS OF LIMEHOUSE, their dear brothers, are able to endure.-The allusions in this passage have never been explained; it contains, probably some contemporary allusion, the sense of which has escaped us. Four very lively pages are given up to the subject in the Variorum Edition (xix. 488-491), but it remains uncertain whether the skit (such as it is) is at the expense of the Puritans (which seems not unlikely) or falls merely upon the play-going youth of the period. On the latter supposition Steevens remarks: The Tribulation does not sound in my ears like the name of any place of entertainment, unless it were particularly designed for the use of Religion's prudes, the Puritans. Mercutio or Truewit would not have been attracted by such an appellation, though it might operate forcibly on the saint-like organs of Ebenezer or Ananias.

"Shakespeare, I believe, meant to describe an audience familiarized to excess of noise; and why should we suppose the Tribulation was not a puritanical meeting-house because it was noisy? I can easily conceive that the turbulence of the most clamorous theatre has been exceeded by the bellowings of puritanism against surplices and farthingales; and that our upper gallery, during Christmas week, is a sober consistory, compared with the vehemence of fanatick harangues against Bel and the Dragon, that idol Starch, the anti-christian Hierarchy, and the Whore of Babylon.

"Neither do I see with what propriety the limbs of Limehouse could be called 'young citizens,' according to Malone's supposition. The phrase, dear brothers,

is very plainly used to point out some fraternity of canters allied to the Tribulation both in pursuits and manners, by tempestuous zeal and consummate ignorance."

275. Line 68: I have some of 'em IN LIMBO Patrum. — Limbus Patrum is, literally, the purgatory of the fathers, or the place where, in the middle ages, the saints who lived before the coming of Christ were supposed to be waiting for the resurrection. In Limbo was used jocularly (as it still sometimes is) for being imprisoned, or perhaps

it means here in the stocks. Compare Titus Andronicus, iii. 1. 149:

As far from help as Limbo is from bliss;

Comedy of Errors, iv. 2. 32:

No, he's in Tartar limbo, worse than hell;

and All's Well, v. 3. 260-262: "for. indeed, he was mad for her, and talked of Satan, and of Limbo, and of Furies, and I know not what."

276. Lines 69, 70: the RUNNING BANQUET of two beadles that is to come.-Compare i. 4. 12 above, where the term, as here, is used in double entendre. See note 110.

277. Lines 85, 86:

And here ye lie baiting of BOMBARDS, when

Ye should do service.

A bombard was a large leather vessel for holding liquor, perhaps so named from its similarity to the bombards used in war: "large machines for casting heavy stones in the attack and defence of fortified places, called also lithoboli and petrariæ; they subsequently became improved into large cannons." Compare I. Henry IV. ii. 4. 497, 498: "that swoll'n parcel of dropsies, that huge bombard of sack;" Tempest, ii. 2. 20-22: "yond same black cloud looks like a foul bombard that would shed his liquor;" and Ben Jonson, Masque of Augurs: "The poor cattle yonder are passing away the time with a cheat loaf, and a bombard of sack."

278. Line 94: I'll PECK you o'er the pales else!-Johnson read pick, for which peek is probably a vulgarism, and which means pitch. It is used again in Coriolanus, i. 1. 203, 204:

as high

As I could pick my lance. Boyer, French Dictionary, has "To pick (or throw) a dart, Jetter, lancer un dard, darder un javelot;” and Coles gives "To pick a dart, jaculor." "To pick or cast" is in Baret's Alvearie, 1580.

ACT V. SCENE 5.

279. Stage-direction: standing-bowls.-These are mentioned by Holinshed among the christening gifts: "Then the archbishop of Canterburie gave to the princesse a standing cup of gold: the dutches of Norffolke gaue to hir a standing cup of gold, fretted with pearle: the marchionesse of Dorset gaue thrée gilt bolles, pounced with a couer: and the marchionesse of Exceter gaue thrée standing bolles grauen, all gilt with a couer" (iii. 787). There is a cut of some standing bowls (bowls elevated on feet or pedestals) in Rolfe, p. 205. See the reference to "standing-cups" in the passage quoted from Middleton in note

261.

280. Lines 1-4: Heaven, from thy endless goodness, send prosperous life, long, and ever happy, to the high and mighty princess of England, Elizabeth!-This proclamation is taken, nearly verbatim, from Holinshed: "When the ceremonies and christening were ended, Garter cheefe king of armes cried alowd, God of his infinite goodnesse send prosperous life and long to the high and mightie princesse of England Elizabeth: and then the trumpets blew" (iii. 787).

281. Line 24: Saba. - In the Septuagint and Vulgate the Queen of Sheba (as our English version calls her) is spoken of as Saba, and so she is very generally known in our older literature, nor is the pretty name quite lost yet. Dyce quotes Marlowe's Faustus:

But she was chaste as was Penelope,
As wise as Saba, or as beautiful
As was bright Lucifer before his fall.

-Works, 1858, p. 87.

and Peele, Sir Clyomon and Sir Clamydes:
Diana for her dainty life, Susannah being sad,
Sage Saba for her soberness, &c.
-Works, 1861, p. 529;

and an unpublished copy of Latin verses addressed by William Gager to Queen Elizabeth:

Deservit Cassandra tibi: te Saba salutat.

282. Lines 37-39:

those about her

From her shall read the perfect WAYS of honour,
And by those claim their greatness, not by blood.

F. 1 prints way, which F. 4 corrects. The accuracy of the correction is proved by the word those in the next line; and Steevens compares the similar expression occurring earlier in the play (iii. 2. 436): "Wolsey, that once trod the ways of glory.”

283. Lines 60-63:

But she must die;

She must; the saints must have her; yet a virgin,
A most unspotted lily shall she pass

To the ground, and all the world shall mourn her. This is, virtually, the punctuation of Ff.; Theobald read: She must; the saints must have her yet a virgin;which does not seem a pretty way of pointing a compliment.

284. Lines 70, 71:

To you, my good lord mayor, And YOUR good brethren, I am much beholding. Ff. have "And you good Brethren," which is obviously out of place in the mouth of the king. The correction was made by Theobald on the suggestion of Dr. Thirlby.

255