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entreat thy love? I will. What shalt thou exchange for rags ? robes; for tittles? titles ; for thyself? me. Thus, expecting thy reply, I profane my lips on thy foot, my eyes on thy picture, and my heart on thy every part. Thine, in the dearest design of industry,
“ Don ADRIANO DE ARMADO.” “ Thus dost thou hear the Nemean lion roar
'Gainst thee, thou lamb, that standest as his prey; Submissive fall his princely feet before,
And he from forage will incline to play: But if thou strive, poor soul, what art thou then? Food for his rage, repasture for his den?." Prin. What plume of feathers is he that indited this
letter? What vane? what weather-cock? did you ever hear
better? Boyet. I am much deceiv’d, but I remember the
style. Prin. Else your memory is bad, going o'er it ere
while. Boyet. This Armado is a Spaniard, that keeps here
in court; A phantasm, a Monarcho ®, and one that makes sport To the prince, and his book-mates.
7 Food for his rage, repasture for his den.) This stanza has been given, in modern editions, as if spoken by Boyet after he has read Armado's letter; but it evidently is a sort of conclusion to it in verse. The verse is quite consistent with the prose by which it is preceded, and Armado has already told us that he should“ turn sonneteer.” This is to be taken as a specimen of the “ whole volumes in folio” he promised to pen.
8 A phantasm, a Monarcho,) Monarcho was a character of the time, so called : See Meres' Palladis Tamia, folio 178, printed in the same year as the first edition of this play. Meres also mentions Peter Shakerley, a person of a similar class, introducing both under the head of “Braggers ;" and we have already seen that Armado is repeatedly called the “ Braggart” in the 4to, 1598, and in the folio, 1623. How long before Shakespeare wrote “Love's Labour's Lost," Monarcho flourished, cannot perhaps be ascertained, but Churchyard wrote an epitaph upon him in 1580 ; and Peter Shakerley is spoken of by G. Harvey in his “ New Letter of Notable Contents,” 4to, 1593, where he terms Marlowe, then dead, a “second Shakerley.” The word phantasm, or phantasma, seems also to have been used VOL. II.
Thou, fellow, a word.
I told you; my lord.
From my lord to my lady. Prin. From which lord, to which lady?
Cost. From my lord Biron, a good master of mine, To a lady of France, that he calld Rosaline. Prin. Thou hast mistaken his letter.—Come, lords,
away. Here, sweet, put up this : 'twill be thine another day.
[Exeunt Princess and Train. Boyet. Who is the suitor ? who is the suitor'? Ros.
Shall I teach you to know? Boyet. Ay, my continent of beauty. Ros.
Why, she that bears the bow. Finely put off! Boyet. My lady goes to kill horns; but if thou
Ros. Well then, I am the shooter.
And who is your deer? Ros. If we choose by the horns, yourself: come
not near. Finely put on, indeed ! Mar. You still wrangle with her, Boyet, and she
strikes at the brow. Boyet. But she herself is hit lower. Have I hit her
Ros. Shall I come upon thee with an old saying,
in a similar sense to Monarcho. In “Skeialetheia,” by E. Guilpin, printed in 1598, this description of persons is introduced :
“they are Phantasmas, butterflies, Inconstant, but yet witless Mercuries.”
Sat. iii. - who is the suitor ?] The joke, here and afterwards, depends upon the pronunciation of “suitor,” shooter. In this play, in the last line but one of A. iii., to “sue” is printed to “shue,” both in the 4to. and in the folio ; and here “suitor” is printed shooter.
that was a man when king Pepin of France was a little boy, as touching the hit it?
Boyet. So I may answer thee' with one as old, that was a woman when queen Guinever of Britain wa little wench, as touching the hit it. Ros. Thou canst not hit it, hit it, hit it,
Thou canst not hit it, my good man.
[Exeunt Ros. and Kath. Cost. By my troth, most pleasant : how both did
fit it! Mar. A mark marvellous well shot, for they both
did hit [it] Boyet. A mark! O! mark but that mark : a mark,
says my lady. Let the mark have a prick in't, to mete at, if it
Mar. Wide o' the bow hand: i'faith your hand is
out. Cost. Indeed, a' must shoot nearer, or he'll ne'er hit
the clout. Boyet. An if my hand be out, then belike
is in. Cost. Then will she get the upshot by cleaving the
pin?. Mar. Come, come, you talk greasily; your lips grow
1 Boyet. So I may answer thee, &c.] This speech, in Malone's Shakespeare by Boswell, is assigned to Biron, who was not on the stage.
? An I cannot, another can.] This is, no doubt, the same song that Cricket refers to near the end of “ Wily Beguiled,” 1606.
“ To give my wench a kiss,
And then dance, Canst thou not hit it.” 3 — by cleaving the pin.) This is one of the emendations of the folio, 1632 : both the 4to, 1598, and the folio, 1623, print is in, (caught by the compositor from the preceding line) instead of pin. To“ hit the clout” and to “cleave the pin ” were synonymous phrases in archery : the clout (nail), or pin, upheld the mark at which aim was taken.
Cost. She's too hard for you at pricks, sir: challenge
her to bowl. Boyet. I fear too much rubbing. Good night, my good owl.
[Exeunt Boyet and MARIA. Cost. By my soul, a swain ! a most simple clown! Lord, lord! how the ladies and I have put him down! O’ my troth, most sweet jests! most incony vulgar
wit! When it comes so smoothly off, so obscenely, as it
were, so fit.
will swear !
Enter HOLOFERNES, Sir NATHANIEL, and Dull.
Nath. Very reverend sport, truly; and done in the testimony of a good conscience.
Hol. The deer was, as you know, sanguis,-in blood; ripe as the pomewater', who now bangeth like a jewel in the ear of cælo,—the sky, the welkin, the
4 Armado o’THE ONE side,] Spelt in the 4to, ath toothen side, of which the printer of the first folio seems to have been able to make no sense, and gave it ath to the side.
5 Shouting within.] The old copies, 4to. and folio, have “shoote within :" it is, in fact, a shout raised upon the shooting.
6 - ripe as the POMEWATER,] A species of apple. The 4to, 1598, reads, “the pomewater," and the folio, “a pomewater :" the difference is not very material, but the definite article, from what follows, seems preferable.
heaven; and anon falleth like a crab, on the face of terra,—the soil, the land, the earth.
Nath. Truly, master Holofernes, the epithets are sweetly varied, like a scholar at the least : but, sir, I assure ye, it was a buck of the first head.
Hol. Sir Nathaniel, haud credo.
Hol. Most barbarous intimation! yet a kind of insinuation, as it were, in via, in way of explication ; facere, as it were, replication, or, rather, ostentare, to show, as it were, his inclination, after his undressed, unpolished, uneducated, unpruned, untrained, or rather unlettered, or, ratherest, unconfirmed fashion,—to insert again my haud credo for a deer.
Dull. I said, the deer was not a haud credo : 'twas a pricket.
Hol. Twice sod simplicity, bis coctus !—0, thou monster ignorance, how deformed dost thou look !
Nath. Sir, he hath never fed of the dainties that are bred in a book; he hath not eat paper, as it were; he hath not drunk ink: his intellect is not replenished; he is only an animal, only sensible in the duller parts; And such barren plants are set before us, that we
thankful should be (Which we of taste and feeling are) for those parts
that do fructify in us more than he°; For as it would ill become me to be vain, indiscreet, or
a fool, So, were there a patch set on learning, to see him in a
- 'twas a pricket.] “ A buck of the first head” is a stag of five years old : “ a pricket” is a stag of the second year. Malone established these points by a quotation from “ The Return from Parnassus,” 1606.
- do fructify in us more than he ;] This line is regulated according to Tyrwhitt's judicious emendation, by the insertion of the preposition “ of,” not found in the old copies : "he" at the end of the line ought to be him, but Shakespeare wanted the rhyme.