Part 42
_pullen_] i. e. poultry.—Old ed. “pully,” which, indeed, may be another form of the word.
# 930:
_dells_] See note, vol. ii. p. 538.
# 931:
_sport_] Qy. “_snort_”—as before.
# 932:
_Ousabel_, &c.] So this gibberish is divided in old ed., rhymes, perhaps, being intended.
# 933:
_magot-o'-pie_] i. e. magpie.
# 934:
_and_] i. e. if.
# 935:
_money_, &c.] “This is an allusion to a popular superstition, that the fairies, from their love of cleanliness, used at night to drop money into the shoes of good servants as a reward.” Editor of 1816.
# 936:
_table_] See note, p. 116.
# 937:
_dell_] See note, vol. ii. p. 538.
# 938:
_pullen_] i. e. poultry.
# 939:
_slights_] i. e. dexterous tricks.
# 940:
_and_] i. e. if.
# 941:
_Wit, whither will thou_] A kind of proverbial expression: it occurs in Shakespeare’s _As you like it_, act iv. sc. 1; where see Steevens’s note.
# 942:
_in dock, out nettle_] “The words '_in dock, out nettle_,' allude, I believe, to a practice still sometimes found among children, of laying the leaf of the butter-dock upon a place that has been stung by a nettle, and repeating, as a kind of charm, the words '_in dock, out nettle_,' as long as the application is continued.” Editor of 1816.—Compare Sir Thomas More; “and thus playe in and out, like _in docke out netle_ that no man shoulde wytte whan they were in and whan they were oute.” _Workes_, 1557, fol. 809. In our text the words are used with some punning allusion.
# 943:
_sirrah_] See note, p. 44.
# 944:
_canter_] Compare vol. ii. pp. 536, 539.
# 945:
_cross_] i. e. silver coin: see note, vol. i. p. 246.
# 946:
_cough o’ th’ lungs_] i. e. “the symptoms of age and infirmity in the lover proposed by the father.” Editor of 1816.
# 947:
_dell_] See note, vol. ii. p. 538.
# 948:
_censure_] i. e. judgment.
# 949:
_Page_] See note, p. 562.
# 950:
_sprawling_] “As applied to the voice seems devoid of meaning; perhaps we should read _squalling_.” Editor of 1816.
# 951:
_fond_] i. e. foolish.
# 952:
_and_] i. e. if.
# 953:
_condition_] See note, p. 292.
# 954:
_up_] Old ed. “_up_ to.”
# 955:
_puck-foist_] i. e. “a sort of mushroom filled with dust.” Editor of 1816.
# 956:
_censure_] i. e. opinion.
# 957:
_niceness_] See note, p. 451.
# 958:
_and_] i. e. if.
# 959:
_condition_} See note, p. 292.
# 960:
_passion_ i. e. grief.
# 961:
_Page_] See note, p. 562.
# 962:
_who_] Old ed. “whose.”
# 963:
_Why_, _when_] See note, p. 164.
# 964:
_ela_] i. e. the highest note in the scale of music.
# 965:
_Why_, _when_] See note, p. 164.
# 966:
_A large_, _a long_] Characters in old music—one large contained two longs, one long two breves.—The editor of 1816 observes, that he does not remember to have seen the name of the first note any where else; it is not, however, a very uncommon word;
“But with _a large_ and _a longe_, To kepe iust playne-songe, Our chaunters shalbe the Cuckoue,” &c. Skelton’s _Phyllyp Sparowe_.
# 967:
_prick-song_] i. e. music written or _pricked_ down, full of flourish and variety, opposed to _plain song_, which was melody without ornament.
# 968:
_Song_] See note, p. 385.
# 969:
_alamire_] i. e. “the lowest note but one in Guido Aretino’s scale of music.” Todd’s _John. Dict._ in v.
# 970:
_foot-cloth_] See note, p. 197.
# 971:
_coranto pace_] i. e. a very swift pace: a _coranto_ was a quick and lively dance.
# 972:
_scourse_] Or _scorce_—i. e. exchange.
# 973:
_barber ... cittern_] See note, vol. i. p. 174.
# 974:
_lavoltas_] See note, vol. i. p. 261.
# 975:
_Metereza_] Or _metreza_—is, as Nares observes (_Gloss_, in v.), a sort of Frenchified Italian, found in our old dramatists.
# 976:
_His_] Old ed. “’Tis.”
# 977:
_brave_] i. e. finely dressed.
# 978:
_starches yellow_] See notes, pp. 134, 422.
# 979:
_coranto_] See note, p. 627.
# 980:
_handfulls_] Altered by editor of 1816 to the more correct form “hands full.”
# 981:
_passa-measures galliard_] A corruption of _passamezzo galliard_. “The _Passamezzo_,” says Sir John Hawkins, “(from _passer_, [_passare?_] to walk, and _mezzo_, the middle or half,) is a slow dance, little differing from the action of walking. As a galliard consists of five paces or bars in the first strain, and is therefore called a cinque-pace, the _passamezzo_, which is a diminutive of the galliard, has just half that number, and from that peculiarity takes its name.” _Hist. of Music_, vol. iv. p. 386. In another place of the same work, vol. ii. p. 134, Sir John states that “every _pavan_ has its _galliard_, a lighter kind of air made out of the former,” which, observes Nares (_Gloss._ in v. _Pavan_), “leads to the suspicion that _passy-measure pavan_ and _passy-measure galliard_ were correlative terms, and meant the two different measures of one dance.”
# 982:
_boy! dainty, fine springal!_] Old ed. “Boys—_Dainty fine_ Springals;” but here Nicholao is the only dancer: and so afterwards (p. 633), when he again dances, Sinquapace exclaims “_dainty_ stripling!”— _Springal_, i. e. youth, lad.
# 983:
_fortuna della guerra_] Old ed. “Fortune de la guardo.” Editor of 1816 gives “fortune de la guerre.”
# 984:
_&c._] See note, vol. i. p. 252.
# 985:
_hose_] i. e. breeches.
# 986:
_sinquapace_] Properly _cinque-pace_: see note, p. 631.
# 987:
_coranto_] See note, p. 627.
# 988:
_her_] Old ed. “his.”
# 989:
_showrly_] i. e. surely—Aurelia affecting a rustic or gipsy dialect.
# 990:
_likes_] i. e. pleases.
# 991:
_byrlady_] See note, p. 9.
# 992:
_property_] In Shirley’s _Wedding_ (_Works_, vol. i. p. 397), “_property_ of your lust” is explained by Gifford, “disguise, cloak for it.” In the present passage, therefore, it may mean “the cloak for your love to Lactantio;” but I believe it signifies nothing more than—a thing to use at will for your convenience: compare p. 598, l. 14.
# 993:
_temple_] “By ‘this temple’is meant her person: the expression is taken from Scripture, but is rather too solemn for the occasion.” Editor of 1816.
# 994:
_Page_] See note, p. 562: she enters, probably, on some sign given by the duchess. The old ed. has no stage-direction here.
# 995:
_villain_] Old ed. “villainy.”
# 996:
_and_] i. e. if.
# 997:
_womankind_] Old ed. “women_kind_.”
------------------------------------------------------------------------
Transcriber’s Note
The author shifted between prose speech and blank verse, sometimes in mid-speech. In this rendering, verse sections are given without blank lines between speeches, with an indentation for each speech.
Stage directions, except for entrances, can be:
in-line in the middle of a line and delimited with ‘[ ]’,
end of line right-justified on the same line (where there is room), with only the leading ‘[’,
next line right-justified on the following line, where there is insufficent room, with a hanging indent, if necessary.
The same convention is followed here. Since this version is wider than the original, most directions are on the same line as the speech.
Entrances were centered and separated slightly from lines above and below. This is rendered here as a full blank line.
The footnote scheme used lettered references, repeating a-z. On numerous occasions, letters were repeated, and sometimes skipped. The numeric resequencing of notes here resolves those lapses. Footnotes are sometimes referred to directly in a footnote by its letter designation. The few direct references to a lettered note use the new numeric value.
Footnotes frequently refer to other notes, usually only by referring the the page where they can be found. Sometimes those cross-references are not accurate and the correct location cannot be ascertained. They are left unlinked.
Note 568 (_when_]) refers to a note on p. 164 of Volume I. The correct reference is to p. 164 in the current volume.
Note 1172 on p. 539 seems to refer to itself.
Errors deemed most likely to be the printer’s have been corrected, and are noted here. The references are to the page and line in the original.
223.35 See note, p. 1[0/9]8. Wrong page. 327.31 _when_] See note, [vol. i.] p. 164. Removed. 547.33 _Dict._ v. _Gastroraphy_.[”] Removed.
--------------
THE HONEST WHORE.
Vol. iii. p. 9, l. 16.
_Curs’d be that day for ever_, &c.] In a note on Shakespeare’s _King John_, act iii. sc. 1, Henderson has pointed out the resemblance between this speech of Hippolito and that of Constance which begins,
“A wicked day, and not a holy day!” &c.
Vol. iii. p. 42, l. 20.
“CAS. Please you be here, my lord? [_Offers tobacco._”
This appears to have been the customary expression on such an occasion: in _Wine, Beere, Ale, and Tobacco, Contending for Superiority, a Dialogue_, we read,
“_Enter Tobaco._
_Tobaco._ Be your leaue gentlemen—wilt _please you be here_, sir?”
Sig. C 4. ed. 1630.
Vol. iii. p. 60, last line.
_ningle_] I have observed, in my note, that all the eds. except that of 1605 have “mingle.” Nares (who had not seen that rare edition), citing this passage, gives _Mingle_ in his _Gloss._ as a legitimate word; but I do not recollect to have met with such a form.
Vol. iii. p. 80, l. 26.
_turn Turk_] “Was,” says Gifford, “a figurative expression for a change of condition, or opinion.” Note on Massinger’s _Works_, vol. ii. p. 222, ed. 1813.
Vol. iii. p. 83, l. 9.
_orangado_] Should be “oringado” or “eringado:” _oringo_ was an old form of _eringo_.
Vol. iii. p. 91, l. 7.
“_A sister’s thread_, i’faith, had been enough.”
In Ford’s _Lady’s Trial_ is the same expression:
“A flake, no bigger than _a sister’s thread_,”
which Gifford too hastily altered to “a _spider’s_ thread,” _Works_, vol. ii. p. 306.—That “sister’s” is not a misprint, there can be no doubt: it seems to be a form of _sewster’s_.
“At euery twisted _thrid_ my rock let fly Unto the _sewster_.”
B. Jonson’s _Sad Shepherd_—_Works_, vol. vi. p. 282, ed. Giff.
Vol. iii. p. 108, l. 25.
_We see you, old man, for all you dance in a net_] An allusion to the proverbial saying, “You dance in a net, and think nobody sees you.” Ray’s _Proverbs_, p. 5, ed. 1768.
Vol. iii. p. 115, l. 21.
_Bow a little_] i. e. bend your hand a little: so in _The Spanish Gipsy_, Alvarez, while telling the fortune of Louis, says to him, “Bend your hand thus:” see vol. iv. p. 149.
--------------
THE SECOND PART OF THE HONEST WHORE.
Vol. iii. p. 152, l. 12.
_I’ll fly high, wench, hang toss!_] In this passage, says Gifford, “_toss_ is used in a way that would induce one to think it meant low play, or a hazard of petty sums.” Note on Massinger’s _Works_, vol. iii. p. 160, ed. 1813.
Vol. iii. p. 197, l. 9.
_a cob_] “A [silver] _Cob_ of Ireland, or a Peece of Eight, is worth four shilling eight pence. It is a Spanish Coin, not round but cornered, or nuke shotten, and passith according to its weight for more or less.” R. Holme’s _Ac. of Armory_, b. iii. c. ii. p. 30.
Vol. iii. p. 199, l. 3.
_Must I be fed with chippings? you’re best get a clapdish, and say you’re proctor to some spittle-house_] “It was once,” says Gifford, “the practice for beadles and other inferior parish officers, to go from door to door with a clap-dish, soliciting charity for those unhappy sufferers, who are now better relieved by voluntary subscriptions.” Note on B. Jonson’s _Works_, vol. i. p. 44.
Vol. iii. p. 200, l. 3.
_old Cole_] Is the name of the sculler in the puppet-show of _Hero and Leander_, introduced into B. Jonson’s _Bartholomew Fair_, act v. sc. 3: see _Works_, vol. iv. p. 509 (note), and p. 520, ed. Gifford.
--------------
THE WIDOW.
Vol. iii. p. 354, l. 3.
_improv’d_] Is right; meaning, as it frequently does, proved.
Vol. iii. p. 373, l. 22.
_And they’re both well provided for, they’re i’ th’ hospital_] “_Hospital_” ought to have been printed with a capital letter: for though the scene of the play is laid in Italy, yet the allusion (as Gifford observes, note on B. Jonson’s _Works_, vol. i. p 41), is to Christ’s Hospital, whither, when it was first established, the foundlings taken up in the city were sent for maintenance and education.
Vol. iii. p. 383, l. 19.
_Come, my dainty doxies?_] I neglected to notice that this song is found entire in our author’s _More Dissemblers besides Women_: see p. 606 of the same volume.
--------------
A FAIR QUARREL.
Vol. iii. p. 510, l. 11.
_from the six windmills to Islington_] “The third great Field from Moorgate, next to _the six Windmills_.” Stow’s _Survey_, b. iii. p. 70, ed. 1720.
Vol. iii. p. 514, l. 17.
_a quadrangular plumation_] Compare Vigon’s _Workes of Chirurgerie_, &c., 1571, where, treating of “tentes, lyntes, and bolsters” for wounds, he tells us that “some [_bolsters_] _bene quadrate_;” and a little after, “some moreouer vse _bolsters made of fethers_,” fol. cxiii.