Part 36
_Alas_] Old ed. “Las.”
# 526:
_I’m_] Old ed. “I am.”
# 527:
_by Amsterdam_] “The toleration allowed to all religious sects in the United Provinces, on their throwing off the Spanish yoke, occasioned numbers of dissenters from the established religion of their country, to take refuge in different parts of the states of Holland. The chief place appears to have been Amsterdam, which is mentioned as such in several contemporary dramatic writers. See Ben Jonson’s Alchymist, and The Fair Maid of the Inn, by Beaumont and Fletcher.”—REED.
# 528:
_The play begins_] Dodsley and his editors print these words as a stage-direction, though they are not given as such in the old copy. They are evidently the exclamation of Simon on hearing the trumpet.
# 529:
_I’ll stop_, &c.] Old ed. “_I’le hide my ears and stop my eyes._”
# 530:
_golls_] A cant term for hands,—fists, paws.
# 531:
_swound_] i. e. swoon.
# 532:
_aqua-vitæ_] A common name for spirits.
# 533:
_First_] Old ed. “2.”
# 534:
_towards_] i. e. at hand.
# 535:
_cut_] i. e. slashed (see note, vol. i. p. 28), with a play on the word: “_Cutted_, scolding, brawling, quarrelling.” Kersey’s _Dict._
# 536:
_in Kent, or Kirsendom_] I ought to have noticed an earlier allusion (at p. 200) to the proverbial saying, “Neither in Kent nor Christendom,” which has been variously explained; see Ray’s _Proverbs_, p. 245, ed. 1768.
# 537:
_at an exercise_] “Alluding to the week-day sermons used by the puritans, which they called _Exercises_. S. P.”—_Note in Dodsley’s Old Plays._
# 538:
_Here’s no abuse_, &c.] See note 454, p. 169.
# 539:
_fox’d_] i. e. drunk.
# 540:
_sight’s_] Old ed. “sight is.”
# 541:
_till’t_] Old ed. “till it.”
# 542:
_of’t_] Old ed. “of it.”
# 543:
_Resolv’d_] i. e. convinced, informed.
# 544:
_waking_] Old ed. “making.”
# 545:
_where_] i. e. whereas.
# 546:
_practice_] See note, p. 160.
# 547:
_of’t_] Old ed. “of it.”
# 548:
_the prince_] Words which, perhaps, should be thrown out.
# 549:
_I will_] Old ed. “I’le.”
# 550:
_prevented_] i. e. anticipated.
# 551:
_And_] i. e. If.
# 552:
_golls_] See note, p. 206.
# 553:
_Ninevitical motion_] _Motion_ is a puppet-show; and that of _Nineveh_, often mentioned by our old writers, appears to have been very popular. “They say, there’s a new _motion of the city of Nineveh_, with Jonas and the whale, to be seen at Fleet-bridge.”—B. JONSON’s _Every Man out of his Humour_, act ii. sc. 1.
# 554:
_Tamburlain_] A personage whom Marlowe’s tragedy of that name had rendered familiar to the audience.
# 555:
_and_] i. e. if.
# 556:
_sprig of rosemary at his burial, than of a gilded bride-branch at mine own wedding_] Rosemary, as being an emblem of remembrance, was used both at funerals and weddings. Compare _The Pleasant History of John Winchcomb, in his younger yeares called Jacke of Newberie_: “Then was there a faire bride cup of silver and gilt carried before her [the bride], wherein was a goodly _braunch of rosemarie gilded very faire_, hung about with silken ribonds of all colours: next was there a noyse of musitians that played all the way before her: after her came all the chiefest maydens of the countrie, some bearing great bride cakes, and some _garlands of wheate finely gilded_, and so she past unto the church.”—Sig. D 3, ed. 1633.
# 557:
_this in his burgonet_] i. e. this glove in his helmet or hat. See stage-direction at the beginning of this scene.
# 558:
_fled_] Old ed. “flee.”
# 559:
_curb_] A friend would read “curse.”
# 560:
_measure_] i. e. a grave, stately dance, with slow and measured steps.
# 561:
_likes_] i. e. pleases.
# 562:
_Lady, bid him_, &c.] Imitated from Shakespeare:
“Let wantons, light of heart, Tickle the senseless rushes with their heels.” _Romeo and Juliet_, act. i. sc. 4.
It is hardly necessary to remark, that before carpets were used, the floors were strewed with rushes.
# 563:
_I’ve_] Old ed. “I have.”
# 564:
_likes_] i. e. pleases.
# 565:
_Willow, willow, willow_] The burden of the song which Shakespeare has rendered immortal: see _Othello_, act iv. sc. 3.
# 566:
_besides_] i. e. by.
# 567:
_laced mutton_] A prostitute—a cant term very common in our early dramatists.
# 568:
_Cornelius’ dry-fats_, &c.] The sweating-tub of Cornelius, formerly used for the cure of the venereal disease, is often mentioned by our early dramatists: but, in the present passage, I suspect there is an allusion which had better be left unexplained.
# 569:
_chitty_] i. e., perhaps, the Italian _città_: but Lazarillo afterwards affectedly uses “_chick_” and “_chickness_” for _sick_ and _sickness_.
# 570:
_and_] i. e. if.
# 571:
_chitty_] See note, p. 236.
# 572:
_Brown-bill_] A sort of pike with a hooked point, anciently carried by the English foot-soldiers, and afterwards by watchmen.
# 573:
_curtal_] i. e. dog, or horse: here, I suppose, it has the former signification.
# 574:
_find_] i. e. furnish.
# 575:
_my full charge_] The constable of the night used regularly to give a charge to the watchmen: see Shakespeare’s _Much ado about Nothing_, act iii. sc. 3.
# 576:
_Mirror of Magistrates_] An allusion to the once- popular poetical work so entitled.
# 577:
_chitty_] See note, p. 236.
# 578:
_bill-men_] See note, p. 237.
# 579:
_camooch_] In B. Jonson’s _Every Man out of his Humour_, act v. sc. 3, the word _camouccio_ occurs, as a term of vituperation; which, says Gifford, “is perhaps a corruption of _camoscio, a goat or goat’s skin_, and may mean _clown_ or _flat-nose_, or any other apposite term which pleases the reader.” So, too, in Dekker and Webster’s _Sir T. Wyatt_, 1607, (Webster’s _Works_, vol. ii. p. 298), “A Spaniard is a _camocho_, or calamanco,” &c.; and Sir T. Brown observes (_Vulgar Errors_, p. 351, ed. 1669), “Many _Spaniards_ ... which are of the race of Barbary Moors ... have not worn out the _camoys nose_ unto this day.”
# 580:
_unpent-house the roof of my carcass_] i. e., in the language of ordinary mortals,—take off my hat.
# 581:
_chitty_] See note, p. 236.
# 582:
_besonian_] Ital. _besogno_ or _besognoso_—often used as a term of reproach by our early writers,—beggar, scoundrel.
# 583:
_bonds and bills_] A play on words: see note, p. 237.
# 584:
_adelantado_] i. e. the king’s lieutenant of a country, or deputy in any important place of charge. “Don Diego de fisty Cankcemuscod, who was admirall or high _adellantado_ of the whole fleete.”—Taylor the water-poet’s _Navy of Land Ships_, p. 79: _Works_, ed. 1630.
# 585:
_pitch and pay_] i. e. pay down your money at once.
# 586:
_Thamer Cham_] i. e. Timur Khaun.
# 587:
_dried one_] i. e. a dried pilcher, or pilchard.
# 588:
_rivo_] A Bacchanalian interjection, frequently found in our old drama: its etymology has not been discovered.
# 589:
_shift_] viz. trenchers, platters.
# 590:
_Song_] Old ed. “_Sing. Musicke._”
# 591:
_poor-john_] A sort of fish (hake, it is said,) dried and salted.
# 592:
_A Street_] Though the servingmen of Camillo (see p. 247) make their appearance immediately on being called for, this scene, whether I have marked it rightly or not, is evidently intended to lie in the neighbourhood of the house where Violetta dwelt.
# 593:
_Spanish needle_] The best needles were imported from Spain: see Gifford’s note on B. Jonson, _Works_, vol. v. p. 12.
# 594:
_quail-pipe boot_] The following lines from Chaucer’s _Rom. of the Rose_ (v. 7212), though relating to a much earlier period, may be quoted here:
“And high shewis knoppid with dagges, That _frouncin_ [_i. e._ wrinkle] _like a quale-pipe_, Or botis riveling as a gipe.”
# 595:
_points_] i. e. the tagged laces which fastened the _hose_ or breeches to the doublet.
# 596:
_not entered into any band_] A play on words: _band_ and _bond_ were formerly used indiscriminately.
# 597:
_slop_] i. e. breeches.
# 598:
_other-gates_] i. e. other-ways—other-kind.
# 599:
_tasting of the cog_] Another pun—_keg_ and _cog_. To _cog_ is to lie or wheedle.
# 600:
_bawdy_] Another—_body_.
# 601:
_Via_] An exclamation of defiance (from the Italian), frequent in our old dramas.
# 602:
_and if I wist_] i. e. if I supposed.
# 603:
_by the cross of this Dandyprat_] “King Henry the seuenth,” says Camden, “stamped a small coyne called _Dandyprats_.”—_Remaines_, p. 173, ed. 1629. Many coins were marked with a cross on one side.
# 604:
_Gentlemen, to the dresser!_] When dinner was ready, the cook used to knock on the dresser with his knife, as a signal for the servants to carry it into the hall. But the words put into the mouth of the facetious Doyt appear to have been those usually employed by the usher to the attendants on such occasions. In the notes to the _Northumberland Household Book_, p. 423, are extracts from “Lord Fairfax’s Orders for the servants of his household [after the civil wars],” where, among “The Usher’s Words of Directions,” we find,—“Then he must warn to the Dresser, ‘_Gentlemen_ and Yeomen, _to the Dresser_.’” Gifford (Massinger’s _Works_, vol. i. p. 166) has cited from a note of Reed on Dodsley’s _Old Plays_ this passage of Lord Fairfax’s “Orders,” &c., as if it contained the _warning_ of the _cook_; and Nares, in his _Glossary_ (voc. _Dresser_), has made the same mistake.
# 605:
_brown-bill_] See note, p. 237.
# 606:
_broken pate—broker_] A play on the word _broker_, which meant pander.
# 607:
_vail_] i. e. lower.
# 608:
_broking_] i. e. pandering.
# 609:
_dag_] i. e. pistol.
# 610:
_Mephostophilis_] The fiend-attendant in Marlowe’s well-known tragedy of _Faustus_.
# 611:
_crackship_] i. e. boyship—little mastership.
# 612:
_current_] An allusion to the coin called a dandyprat: see note, p. 246.
# 613:
_angel_] i. e. a gold coin, in value about ten shillings.
# 614:
_ventoy_] i. e. fan.
# 615:
_incony_] i. e. fine, delicate, pretty.
# 616:
_Fa, la_, &c.] Here (as appears from what follows) Imperia moves about, or dances, to the music.
# 617:
_ingle_] i. e. wheedle, coax.
# 618:
_&c._] Is sometimes found in passages of our early dramatists, and seems to mean that the players might make use of any suitable expressions which occurred to them.
# 619:
_Song_, &c.] Old ed. “_Reades. Song._”
# 620:
_Were neither_, &c.] Old ed.
“_Were neither lip, nor cheekes currall, nor cherry eyes._”
Some of the lines in this miserable effusion seem intended to be sung only, not read.
# 621:
_And_] i. e. if.
# 622:
_jack_] The figure which struck the bell on the outside of the old clocks was called a _jack_.
# 623:
_these_] Old ed. “this.”
# 624:
_incontinently_] i. e. immediately.
# 625:
_counterfeit_] i. e. portrait.
# 626:
_nail him up_, &c.] As counterfeit money is nailed up.
# 627:
_Wut_] i. e. Wilt.
# 628:
_Much!_] An ironical and contemptuous expression, of frequent occurrence in the old English drama, equivalent, generally, to _little_ or _none_.
# 629:
_good_] Old ed. “God.”
# 630:
_aslopen_] i. e. asleep—for the rhyme.
# 631:
_teston_] Or _tester_ (so called from the head, _teste_, stamped on it),—_i. e._ sixpence: it was originally of higher value.
# 632:
_I’m_] Old ed. “I am.”
# 633:
_my roba_] i. e. my wanton. _Buona-roba_ is an Italian phrase for a courtesan; “as we say, good stuffe,” &c. Florio in v.
# 634:
_marry, muff_] So Taylor the water-poet;
“Here’s a sweet deale of scimble scamble stuffe, To please my Lady Wagtayle, _marry muffe_.” _A Whore_, p. 111—_Workes_, ed. 1630.
# 635:
_I’m_] Old ed. “I am.”
# 636:
_I’m_] Old ed. “I am.”
# 637:
_stock_] i. e. stocking.
# 638:
_hose, pan’d, stuft with hair_] See note, p. 28.
# 639:
_Abram-colour’d_] So in _Soliman and Perseda_, 1599, sig. H 3:
“Where is the eldest sonne of Pryam? That _abraham-couloured_ Troion.”
In Shakespeare’s _Merry Wives of Windsor_, act i. sc. 4, Slender is described as having a “_Cain- coloured_ beard;” and in our author’s _Chaste Maid in Cheapside_, act iii. sc. 2, “_Judas_ with the red beard” is mentioned. Theobald, in a note on the passage of Shakespeare just quoted, thinks that such expressions were suggested by old tapestries and pictures. Steevens, _ibid._, is not certain but that “_Abraham_” may be a corruption of _auburn_; and in _Coriolanus_, act ii. sc. 3, where we now read with the fourth folio, “our heads are some brown, some black, some _auburn_,” the three earlier folios have “_Abram_.”
# 640:
_When Monsieur Motte lay here ambassador_] Though the scene of this play is in Venice, yet “_here_” means in England,—during some of the earlier years of Elizabeth’s reign.
# 641:
_against the hair_] See note, p. 163.
# 642:
_I’m_] Old ed. “I am.”
# 643:
_these_] Old ed. “this.”
# 644:
_and_] i. e. if.
# 645:
_stone_] Old ed. has “no see,” a misprint. I doubt if the word which I have substituted for it be the right one.
# 646:
_I’m_] Old ed. “I am.”
# 647:
_save Hippolito_] Because, probably, Imperia was to be his partner. The lavolta was a dance for two persons, described by Sir J. Davies, in his _Orchestra_, as “a lofty jumping or a leaping round.” See also Douce’s _Illust. of Shakspeare_, vol. i. p. 489.
# 648:
_zanies with torches_] _zanies_ seems here to mean nothing more than attendants. In act iii. sc. 1. of this drama, when Violetta is told that “Imperia the courtesan’s _zany_ hath brought you this letter,” she exclaims, “her _groom_ employ’d by Fontinelle!” and in Florio’s _New World of Words_, ed. 1611, is “_Zane_, the name of John in some parts of Lombardy, but commonly used for a silly John, a simple fellow, _a seruile drudge_ or foolish clowne in any commedy or enterlude play.”—For “_torches_” the old ed. has “coaches.” Torch-bearers were the constant attendants at masques.
# 649:
_suckets_] i. e. sweetmeats.
# 650:
_angels_] See note, p. 250.
# 651:
_bale_] i. e. pair.
# 652:
_I’m_] Old ed. “I am.”
# 653:
_a’ high lone_] So in Shakespeare’s _Romeo and Juliet_, act i. sc. 3, where we now read, “For then she could stand _alone_,” the 4to of 1597 has “stand _high lone_.” Compare too W. Rowley’s _A Shoomaker a Gentleman_, 1638; “The warres has lam’d many of my old customers, they cannot go _a hie lone_.” Sig. B 4.
# 654:
_leesing_] i. e. losing.
# 655:
LAZARILLO _enters_] His entrance is not marked in the old copy, and perhaps the poet intended that he should come in with the masquers.
# 656:
_give fire too suddenly to the Roaring Meg of my desires_] A metaphor drawn from the celebrated gun, which Churchyard thus mentions in his _Siege of Edenbrough Castell_;
“With thondryng noyes was shot of _roeryng Meg_, And throw the thickst she thompt orethawrt the waies,” &c. fol. 94—_Chippes_, ed. 1575.
# 657:
_Don Diego_] Old ed. “Don Dego,”—seems to have been ironically used for _Spaniard_, in consequence of a strange indecency committed by a personage of the name: see note on act iv. sc. 3, where Lazarillo declares that he is “kin to Don Diego.”
# 658:
_Sanguine-cheeked! dost think their faces have been at cutler’s?_] So Beaumont and Fletcher:
“_Piso._ ————————O’ my life, he looks Of a more rusty, swarth complexion Than an old armory doublet. _Lod._ I would send His _face to th’ cutler’s then, and have it sanguin’d_.” _Captain_, act ii. sc. 2.
“_Sanguine._ The bloud-stone wherewith cutlers do sanguine their hilts.”—COTGRAVE’S _Dict._
# 659:
_Exeunt_, &c.] The old ed. has no stage-direction here. The curtains, called _traverses_, sometimes used for scenes (see Malone’s _Hist. Acc. of the English Stage_, p. 88, ed. Boswell), were drawn, I suppose, after this speech of Hippolito.
# 660:
_with smoke_] There is something abrupt and awkward in the conclusion of this scene; and I am inclined to believe that part of it has been lost at the press.
# 661:
_these brims_] Old ed. “this brimmes.”—I suppose Hippolito means to say, do not wear your hat so much over your face.
# 662:
_Brest_] A play on words—_breast_.
# 663:
_bona-roba_] See note, p. 258.
# 664:
_Incestancy_] i. e. incest. I have not met with the word elsewhere.
# 665:
_fond_] i. e. silly.
# 666:
_laugh and lie down_] An allusion to the game at cards called _Laugh and lay down_.
# 667:
——————_the owl, whose voice Shrieks like the belman_] Here, perhaps, Middleton recollected _Macbeth_:
“It was the owl that shriek’d, the fatal belman, Which gives the stern’st good night.”—Act ii. sc. 2.
# 668:
_owes_] i. e. owns.
# 669:
_a’ life_] i. e. as my life, extremely.
# 670:
_zany_] See note, p. 261.
# 671:
_making himself ready_] i. e. dressing himself.
# 672:
_noddy_] A game on the cards often alluded to by our dramatists: how it was played is doubtful.
# 673:
_lie_] Old ed. “lyes.”
# 674:
_At ten a’ clock_] Did the author forget that Violetta, according to appointment, had, in the preceding scene, met Fontinelle _at midnight_?
# 675:
_Amen_] Old ed. “_Amen_, amen, amen.”
# 676:
_I’m_] Old ed. “I am.”
# 677:
_table-books_] i. e. memorandum-books.
# 678:
_these dried stockfishes, that ask so much tawing_] To _taw_ is, properly, to dress leather with allum:
“Yes, if they _taw_ him, as they do whit-leather, Upon an iron, or beat him soft like stockfish.” BEAUMONT _and_ FLETCHER’s _Captain_, act iii. sc. 3.
# 679:
LAZARILLO] Old ed. here (and here only), “Lazarino.”
# 680:
_skreet_] Query for _discreet_?
# 681:
_unclipt angels_] A play on words: see note, p. 250.
# 682:
_chitty-matron_] See note, p. 236.
# 683:
_chitty_] See note, p. 236.
# 684:
_capachity_] i. e. capacity: see note, p. 236.
# 685:
_the a-per-se_] i. e. the chiefest, most excellent: see Nares in _Gloss._, and Todd in Johnson’s _Dict._
# 686:
_ela_] The highest note in the scale of music.
# 687:
_virginals_] An instrument of the spinnet kind: the most correct description of it is in Nares’s _Gloss._
# 688:
_a garden_] As these words are given in italics, they are probably intended as a quotation from the _Economical Cornucopia_.
# 689:
_chitty_] See note, p. 236.
# 690:
_sops-in-wine_] i. e. pinks: see much concerning the name in Nares’s _Gloss._
# 691:
_in print_] i. e. in exact and perfect manner.
# 692:
_poking-sticks_] i. e. irons for setting the plaits of the ruff.
# 693:
_chick_] i. e. sick. See note, p. 236.
# 694:
_where_] i. e. whereas.
# 695:
_chickness_] i. e. sickness: see note, p. 236.
# 696:
_chittizens_] See note, p. 236.
# 697:
_gentlemen_] Old ed. “gentleman.”
# 698:
_lerry_] i. e. learning, lesson.
# 699:
_alablaster_] So the word was formerly written,—even as late as the time of Milton: see the first editions of _Comus_, v. 660, and _Par. Lost_, b. iv. 544.
# 700:
_nock_] i. e. notch—where the string is fastened.
# 701:
_guide’s_] Qy. “girl’s?”
# 702:
_aventure_] i. e. adventure.
# 703:
_wrack_] i. e. wreck.
# 704:
_goldfinch_] i. e. a piece of gold, or purse.
# 705:
_perilous_] i. e. dangerously shrewd: when the word is used in this sense by our early dramatists, it is generally written _parlous_, as at p. 286.
# 706:
_lantern and candle-light_] The old ed. gives these words in italics, with, perhaps, some allusion which I cannot explain. Of Dekker’s tract _O per se O, or a new Crier of Lantern and Candle-light_, no edition is known anterior to the production of the present drama.
# 707:
_O sconce, and O sconce!_] i. e. (I suppose) O my head, and O my lantern!
# 708:
_ban_] i. e. curse.
# 709:
_I’ve_] Old ed. “I have.”
# 710:
_I’m_] Old ed. “I am.”
# 711:
_I’m_] Old ed. here, and in next line (where “_courtier_” is a trisyllable), “I am.”
# 712:
_Marry muff_] See note, p. 258.
# 713:
_and_] i. e. if.
# 714:
_&c._] See note, p. 252.
# 715:
_go by, old Jeronimo_] A quotation from Kyd’s _Spanish Tragedy_, which was written probably about 1590. The words are spoken by Hieronimo to himself:
“_King._ Who is he that interrupts our business? _Hier._ Not I: Hieronimo, beware, go by, go by.”
Dodsley’s _Old Plays_, vol. iii. p. 163. new ed. Though this expression, and other lines of _The Spanish Tragedy_, are so often ridiculed by contemporary writers, the play possesses no ordinary merit. Coleridge (see his _Literary Remains_, vol. ii. p. 129) thought that some passages of it were written by Shakespeare. We know (from Henslowe’s MSS.) that Ben Jonson made “adycions” to it in 1601 and 1602.
# 716:
_and_] i. e. if.
# 717:
_and_] i. e. if.
# 718:
_mum_] Opposite this word the old ed. has a stage- direction “_Clap_”—which perhaps means that she is to _clap to_ the window.
# 719:
_knew_] Old ed. “know.”
# 720:
_parlous_] Old ed. “Paulons:” see note, p. 283.
# 721:
_I’m_] Old ed. “I am.”
# 722:
_pantaples_] or _pantables_—i. e. a kind of slippers.
# 723:
_up and down_] The old ed. adds, “_A song presently within_,”—a direction intended to warn the singers and musicians to be in readiness.
# 724:
_cry_] Old ed. here and in the next line, “cryes.”
# 725:
_curtal_] i. e. horse.
# 726:
_The Spanish pavin_] A grave and stately dance. Sir J. Hawkins says,—“Every _pavan_ had its _galliard_, a lighter kind of air made out of the former:” see Nares’s _Gloss._ in v.
# 727:
_Satan_] Old ed. “Satin,”—a play on the words _Satan_ and _satin_.
# 728:
_Ho_] The word here (as in our very earliest poets) is equivalent to “stop.”
# 729:
_cast_] i. e. vomit.
# 730:
_I’ve_] Old ed. “I have.”
# 731:
_gin_] i. e. snare.
# 732:
_I’m_] Old ed. “I am.”
# 733:
_perilous_] See note, p. 283.
# 734:
_Cast_] i. e. let me consider.
# 735:
_sconce_] i. e. lantern.
# 736:
_bill-men_] See note, p. 237.
# 737:
_My sconce takes this in snuff_] A poor conceit: to _take in snuff_ is, to be angry, to take offence. So Shakespeare:
“You’ll mar the light, by taking it in snuff.” _Love’s Labour’s Lost_, act v. sc. 2.
# 738:
_when?_] An elliptical expression of impatience, very frequent in our old dramatists.
# 739:
_&c._] See note, p. 252.
# 740:
_cony-catching_] i. e. cheating, deceiving: the _cony_, or rabbit, was reckoned a simple animal. The tricks of the _cony-catchers_, or sharpers, with whom London used to abound, were described by R. Greene in several pamphlets: see the full titles of them in my ed. of his _Dram. Works_, vol. i. p. cvi.
# 741:
_Woodcock, how dost thou, Woodcock?_] The old ed. gives these words to Blurt.
# 742:
_Woodcock, you are of our side_] A proverbial expression, which, I suppose, originated in some game: see note, p. 203.
# 743:
_And_] i. e. if.
# 744:
_my lean Pilcher_] i. e. his page, with an allusion to his name: see p. 243 and note.
# 745:
_I have a poor Spanish suit_, &c.] Lazarillo had escaped in his shirt: see p. 286.
# 746:
_And_] i. e. if.
# 747:
_slop_] i. e. breeches.
# 748:
_mandillion_] “Mandiglione, a iacket, a mandillion.” Florio’s _New World of Words_, ed. 1611.—Stubbes (_apud_ Strutt, _Dress and Habits_, vol. ii. p. 267.) says that it covered the whole body down to the thighs; and R. Holmes (_ibid._) describes it as a loose garment having holes to put the arms through.
# 749: