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Lit. Rabbi Busy, sir; he is more than an elder, he is a prophet, sir.

Quar. O, I know him! A baker, is he not?

Lit. He was a baker, sir, but he does dream now, and see

visions; he has given over his trade.

Quar. I remember that too; out of a scruple he took, that, in spiced conscience, those cakes he made were served to bridales, May-poles, morrices, and such profane feasts and meetings. His Christian name is Zeal-of-the-land. Lit. Yes, sir; Zeal-of-the-land Busy."

SCENE IV.-"Light airs and recollected terms.” Term forms no part of the technical language of music. Its plural may possibly be intended

14 SCENE III.—“Farewell, dear heart, since I by Shakspere to signify those passages called

must needs be gone.""

This, again, is an old ballad which we find in Percy, who reprints it from 'The Golden Garland of Princely Delights:'

"Farewell, dear love; since thou wilt needs be gone,
Mine eyes do show my life is almost done.
Nay, I will never die, so long as I can spy
There be many mo, though that she do go,
There be many mo, I fear not:
Why then let her go, I care not.

Farewell, farewell; since this I find is true,
I will not spend more time in wooing you:

But I will seek elsewhere, if I may find love there:
Shall I bid her go? what and if I do?
Shall I bid her go and spare not?
O no, no, no, I dare not.

Ten thousand times farewell;-yet stay a while:-
Sweet, kiss me once; sweet kisses time beguile:
I have no power to move.
Wilt thou needs be gone?
Wilt thou needs be gone?
Nay, stay, and do no more deny me.

How now! am I in love?
Go then, all is one.
Oh, hie thee!

Once more adieu, I see loth to depart
Bids oft adieu to her that holds my heart.

But seeing I must lose thy love, which I did choose,
Go thy way for me, since that may not be.

Go thy ways for me. But whither?

Go, oh, but where I may come thither.

What shall I do? my love is now departed.
She is as fair as she is cruel-hearted.

She would not be entreated, with prayers oft repeated.
If she come no more, shall I die therefore?
If she come no more, what care I?
Faith, let her go, or come, or tarry."

IS SCENE III.-"Dost thou think, because thou art virtuous, there shall be no more cakes and ale ?"

This reproof of the steward is of universal application; but it was probably an indirect sarcasm against the rising sect of the Puritans, who were something too apt to confound virtue with asceticism. Ben Jonson speaks more directly in the matter:

"Winw. What call you the reverend elder you told me of, your Banbury man?

phrases; but it is more likely that the word was originally written tunes, which would render the expression intelligible. In the folios it is spelt termes: and this, in not very clear manuscript, might easily have been mistaken by the compositor for tunes. Dr. Johnson thinks that "recollected" means recalled; in which we agree, if by "recalled" is to be understood known by heart-by memory. Dr. Warburton's conjecture, that by "recollected" is meant studied, will not find many supporters.

17 SCENE V.-"The lady of the Strachy."

This has been called a desperate passage; and many wild guesses have accordingly been made to explain it. We subjoin a note from a correspondent, which probably comes as near to the mark as we may expect:- " Steevens conjectured, the lady of the Starchy-i. e., laundry; but this is not the point at which Malvolio aimed, viz., an example of a lady of high degree marrying her servingman. Mr. R. P. Knight suggested Strachy to be a corruption of the Italian Stratico:-Cosi chi amasi il governatore di Messina,' says Menage. The word is written Stradico in Florio, and was no doubt applied to governors elsewhere than at Messina. The low Latin, Strategus, or Straticus, or Stratigus, was in common use for a prefect or ruler of a city or province, (Du Cange,) from the Greek Ergarnyos. Strategus in English would be Strategy, which, by various corruptionsStratgy, Stratchy-may have become Malvolio's Strachy; or it may have descended from the Italian directly. The example was probably well known of a lady of the Strachy-i. e., the governor-marrying the yeoman of the wardrobe." And yet the context would rather point to some corruption of the name of a place. Warburton conjectures that Strachy was Tra

chy, Thrace. Malvolio would hardly say, "the | Thrace. It might be Astrakhan-Astracanlady" of the governor, for the widow of the easily enough corrupted into A-strachy-and as governor; but he would say, the lady of such a easily metamorphosed by a printer into the land, for the princess. Unquestionably the Strachy. Mr. Collier suggests that it may be allusion is to some popular story-book-one of "the lady of the Strozzi.” those in which

"Fair truth have told

That queens of old

Have now and then

Married with private men."-R. Brome. Where the scene of the elevation of "the yeoman of the wardrobe" was placed by the story-book writer was of little consequence. It might be

18 SCENE V.-" O, for a stone-bow."

A stone-bow is a cross-bow which shoots stones. It was a toy for children, according to Beaumont and Fletcher :

"

children will shortly take him For a wall, and set their stone-bows in his forehead."

1 SCENE V.-" Wind up my watch." It is said that watches for the pocket were first brought to England from Germany, in 1580. We give a representation of an ancient watch from a remarkable specimen. This watch is embellished on the face with roses and thistles conjoined, and has no minute-hand: these circumstances fix its date somewhere in the reign of James I. It is of silver, about the size of a walnut; the lid shuts the face from view, and when closed it looks like a small pear. In Hollar's print of Summer-a half-length portrait of a lady-a watch, similar to our specimen, hangs from the girdle.

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21 SCENE V. "Wished to see thee ever cross-gartered." Barton Holyday, who wrote fifty years after Shakspere, describes this fashion in connection with a Puritan:

"Had there appear'd some sharp cross-garter'd man, Whom their loud laugh might nickname Puritan; Cas'd up in factious breeches, and small ruff; That hates the surplice, and defies the cuff The fashion is of great antiquity. In the 24th vol of the 'Archeologia,' Mr. Gage has described an illumination of a manuscript of the tenth century in the library of the Duke of Devonshire, where this costume is clearly depicted. Mr. Gage says "The kind of bandaged stocking, so common in all Saxon figures, which is seen to advantage in the miniature of the Magi, where the principal figure (copied in the cut)

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has garters of gold, with tassels, was, as M. Langlois, the able and learned professor of painting at Rouen, informs me, in general use among the shepherds and country people of

France during the 15th and 16th centuries. In the latter century the butchers often rode on horseback with their legs clothed in this manner. This part of the dress was made of white linen, and was called "des lingettes," a name applied also to a part of the ancient costume of women of the Pays de Caux, that covered the arm. In the Apennines I have myself seen the contadini with a kind of stocking bandaged all the way up. The Highland stocking bears some resemblance to the costume."

23 SCENE V.-" Shall I play my freedom at tray-trip."

In Cecil's Correspondence,' Letter 10, we have the following passage:-"There is great danger of being taken sleepers at tray-trip, if the king sweep suddenly." This led Tyrwhitt to conjecture that the game was draughts. A satire called 'Machiavel's Dog,' 1617, confirms this opinion:

"But, leaving cards, let's go to dice awhile,

To passage, treitippe, hazard, or mum-chance."

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23 SCENE I.-"Dost thou live by thy tabor?" TARLETON, the celebrated clown of the ancient stage, was represented with a tabor in a print prefixed to his 'Jests,' 1611. "The instrument," says Douce, "is found in the hands of fools long before the time of Shakspeare." At the end of the Introductory Remarks we have given a portrait of Tarleton with his tabor; but this is not copied from the 'Jests.' It is taken from the Harleian MS. No. 8885-'An Alphabet of Initial Letters, by John Scottowe.' On the title are the arms of Queen Elizabeth and the following inscription:-"God save Queene Elizabeth longe to reygne." This circumstance proves this portrait of "Mr. Tharlton" (as his name is spelt by Scottowe) to be an earlier performance than the figure prefixed to the 'Jests,' 1611; and, as the two are exactly alike, our portrait is probably the original from which the old woodcut was copied.

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When he in pleasaunt wise

The counterfet expreste,
Of cloune wt cote of russet hew,
And sturtops wt ye rest.

Whoe merry many made

When he appeard in sight, The grave and wise, as well as rude, At him did take delight.

The partie nowe is gone,

And closlie laid in claye;
Of all the jesters in the lande
He bare the praise awale.

Nowe hath he plaid his p'te,
And sure he is of this,

If he in Christe did die: to live
With him in lasting blis."

24 SCENE IL-"I had as lief be a Brownist as a politician."

The Brownists so called from Robert Brown,

bed, which is more interesting than any description.

more lines than are in the new map with

the augmentation of the Indies."

who was a connexion of the Lord Treasurer 2 SCENE II.-"He does smile his face into Cecil, and was educated at Corpus Christi College, Cambridge-gave great offence to the Church about 1580 by maintaining that her Shakspere, who paid no attention to geodiscipline was Popish and Antichristian, and graphy, according to the commentators, here her ministers not rightly ordained. The sect describes a "new map"-an accession to the geowas subsequently known by the name of Inde-graphy of his day. This map is found in 'Linpendents. (See Neal's 'History of the Puri-schoten's Voyages,' 1598; and we have engraved tans.') a portion of it,-about a fourth part of the original-exhibiting the islands of Malacca and

25 SCENE II.-"Big enough for the bed of Ware Borneo, to show how accurately the "careless" poet has described its peculiarities.

in England."

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"SCENE IV.-"We'll have him in a dark-room, 28 SCENE IV.-"He is knight, dubbed with un

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