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Who, tend'ring their own worth, from where they were glass'd,

Did point you to buy them, along as you pass'd. His face's own margent did quote such amazes," That all eyes saw his eyes enchanted with gazes: I'll give you Aquitain, and all that is his,

An you give him for my sake but one loving kiss. PRIN. Come, to our pavilion: Boyet is dispos'dBOYET. But to speak that in words, which his eye hath disclos'd:

I only have made a mouth of his eye,

By adding a tongue which I know will not lie. Ros. Thou art an old love-monger, and speak'st skilfully.

MAR. He is Cupid's grandfather, and learns news of him.

Ros. Then was Venus like her mother; for her father is but grim.

BOYET. Do you hear, my mad wenches?

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7 His face's own margent did quote &c.] In our author's time, notes, quotations, &c. were usually printed in the exterior margin of books. So, in Romeo and Juliet:

"And what obscur'd in this fair volume lies,
"Find written in the margin of his eyes."

Again, in Hamlet: "I knew you must be edified by the margent."

MALONE.

ACT III. SCENE I.

Another part of the same.

Enter ARMADO and MOTн.

ARM. Warble, child; make passionate my sense of hearing.

MOTH. Concolinel- 8

[Singing.

ARM. Sweet air!-Go, tenderness of years; take this key, give enlargement to the swain, bring him

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. Again, in The Play of the Wether, by John Heywood, bl. 1: "At thende of this staf the god hath a songe, played in his torne, or Mery Reporte come in." Probably the performer was left to choose his own ditty, and therefore it could not with propriety be exhibited as a 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 King Edward IV. P. II. 1619:—" Jockey is led whipping over the stage, speaking some words, but of no importance."

Again, in Greene's Tu Quoque, 1614:

"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, 1605:

"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 Mar. ston's Antonio's Revenge, 1602, are inserted; but instead of them,.

cantant.

STEEVENS.

festinately hither; I must employ him in a letter to my love.

MOTH. Master, will you win your love with a French brawl? 1

ARM. How mean'st thou? brawling in French?

MOTH. No, my complete master: but to jig off a tune at the tongue's end, canary to it with your feet, humour it with turning up your eye-lids; sigh a note, and sing a note; sometime through the throat, as if you swallowed love with singing love; sometime through the nose, as if you snuffed up love by smelling love; with your hat penthouselike, o'er the shop of your eyes; with your arms crossed on your thin belly-doublet, like a rabbit on a spit; or your hands in your pocket, like a man

9 festinately hither;] i. e. hastily. Shakspeare uses the adjective festinate in King Lear: "Advise the Duke where you are going, to a most festinate preparation." STEEVENS.

1

a French brawl?] A brawl is a kind of dance, and (as Mr. M. Mason observes,) seems to be what we now call a cotillon.

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.”

2

Again, in Ben Jonson's masque of Time Vindicated: "The Graces did them footing teach;

"And, at the old Idalian brawls,

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They danc'd your mother down." STEEVENS.

So, in Massinger's Picture, Act II. sc. ii:

"'Tis a French brawl, an apish imitation

"Of what you really perform in battle." TOLLET.

canary to it with your feet,] Canary was the name of a spritely nimble dance. THEOBALD.

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after the old painting;3 and keep not too long in one tune, but a snip and away: These are complements, these are humours; these betray' nice wenches that would be betrayed without these; and make them men of note, (do you note, men?) that most are affected to these."

3

ARM. How hast thou purchased this experience?
MOTH. By my penny of observation."
ARM. But O,-but 0,—

like a man after the old painting;] It 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. STEEVENS.

These are complements,] Dr. Warburton has here changed complements to complishments, for accomplishments, but unnecessarily. JOHNSON.

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- these betray &c.] The former editors: these betray nice wenches, that would be betray'd without these, and make them men of note. But who will ever believe, that the old attitudes and affectations 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.

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and make them men of note, (do you note, men?) that most are affected to these.] i. e. and make those men who are most affected to such accomplishments, men of note.-Mr. Theobald, without any necessity, reads-and make the men of note, &c. which was, I think, too hastily adopted in the subsequent editions. One of the modern editors, instead of" do you note, men?" with great probability reads do you note me?

MALONE.

By my penny of observation.] Thus, Sir T. Hanmer, and his reading is certainly right. The allusion is to the famous old piece, called a Penniworth of Wit. The old copy reads—pen. FARMER.

The story Dr. Farmer refers to, was certainly printed before Shakspeare's time. See Langham's Letter, &c. RITSON.

MOTH. -the hobby-horse is forgot."

ARM. Callest thou my love, hobby-horse?

But

MOTH. No, master; the hobby-horse is but a colt, and your love, perhaps, a hackney. have you forgot your love?

ARM. Almost I had.

MOTH. Negligent student! learn her by heart. ARM. By heart, and in heart, boy.

MOTH. And out of heart, master: all those three I will prove.

ARM. What wilt thou prove?

MOTH. A man, if I live; and this, by, in, and without, upon the instant: By heart you love her, because your heart cannot come by her in heart you love her, because your heart is in love with her; and out of heart you love her, being out of heart that you cannot enjoy her.

Arm. But 0,—but 0,—

Moth. the hobby-horse is forgot.] In the celebration of May-day, besides the sports now used of hanging a pole with garlands, and dancing round it, formerly a boy was dressed up representing Maid Marian; another like a friar; and another rode on a hobby-horse, with bells jingling, and painted streamers. After the reformation took place, and precisians multiplied, these latter rites were looked upon to savour of paganism; and then Maid Marian, the friar, and the poor hobby-horse were turned out of the games. Some who were not so wisely precise, but regretted the disuse of the hobby-horse, no doubt, satirized this suspicion of idolatry, and archly wrote the epitaph above alluded to. Now Moth, hearing Armado groan ridiculously, and cry out But oh! but oh!-humorously pieces out his exclamation with the sequel of this epitaph. THEOBALD.

The same line is repeated in Hamlet. See note on Act III. sc. iii. STEEVENS.

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but a colt,] Colt is a hot, mad-brained, unbroken young fellow; or sometimes an old fellow with youthful desires. JOHNSON.

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