Scene 1. Page 386. Sly. Therefore, paucas pallabris. Perhaps these words are part of an old Spanish proverb, corresponding with the Portuguese, "A o hom entendedor poucas palavras," i. e. to an intelligent man, few words. Most of the modern European languages have a proverb like our "word to the wise." In Ben Jonson's Masque of Augures, Vangoose is made to exclaim "hochos-pochos, paucos palabros." Scene 1. Page 394. Lord. And when he says he is ——, say that he dreams. Of the various modes of filling up this blank suggested in the notes, that of Dr. Johnson, who would insert sly, is the most probable. Mr. Steevens asks, "how should the Lord know the beggar's name to be Sly?" This is very true; yet Shakspeare might as well forget himself in this place as he certainly did a few pages afterwards, where he makes the Lord's servant talk of Cicely Hacket, &c. ACT I.Scene 1. Page 414. Kath. I pray you, sir, is it your will To make a stale of me amongst these mates. She means to say, "do you intend to make a strumpet of me among these companions?" but the expression seems to have been suggested by the chess-term of stale mate, which is Scene 2. Page 427. Pet. Be she as foul as was Florentius' love. Dr. Farmer's note might have been omitted, as it refers to a story which has no manner of connection with that to which Petruchio alludes. Scene 2. Page 436. Pet. Tush, tush, fear boys with bugs. To fear is to frighten. In Mathews's Bible, psalm xci. v. 5, is thus rendered: "Thou shalt not nede to be afraied for any bugs by night." In the Hebrew it is "terror of the night;" a curious passage, evidently alluding to that horrible sensation the night-mare, which in all ages has been regarded as the operation of evil spirits. Thus much seemed necessary in explanation or defence of the above most excellent old translation, which we have retained with very little change in the language; for the expression, from its influence on a modern ear, might have been liable to a very ludicrous construction. The word bug is originally Celtic, bwg, a ghost or goblin, and hence bug-bear, boggerd, bogle, boggy-bo, and perhaps pug, an old name for the Devil. Boggy-bo seems to signify the spirit Bo, and has been thought, with some probability, to refer to a warrior of that name, the son of Odin, and of great celebrity among the ancient Danes and Norwegians. His name is said to have struck his enemies with terror, and might have been used by the nurses of those times to frighten children, as that of Marlborough was in ACT II.Scene 1. Page 442. Kath. And, for your love to her, lead apes in hell. It is perhaps an ill-natured, though a very common, presumption, that the single state of old maids originates either in prudery or in real aversion to the male sex, and that consequently they deserve some kind of punishment in the next world. It is therefore not a matter of wonder that some of our waggish forefathers, impressed with this idea, should have maintained that these obdurate damsels would be condemned to lead apes in the inferior regions, instead, as Mr. Steevens has ingeniously suggested, of children; or perhaps with a view to compel them to bestow such attention on these deformed animals as they had formerly denied to men. So in Rabelais' hell, Alexander the great is condemned, for his ambition, to mend old stockings, and Cleopatra, for her pride, to cry onions. It is said that homicides and adulterers were in ancient times compelled by way of punishment to lead an ape by the neck, with their mouths affixed in a very unseemly manner to the animal's tail. The fact is mentioned in the early Latin dictionary entitled Vocabularius breviloquus, and in the Catholicon of Johannes Januensis, both printed at the end of the Scene 1. Page 450. Hor. And, twangling Jack. It is the author's desire to withdraw a former note on this passage, which, as well as a few others of a confidential nature, was not intended for publication. To twangle means to make any sharp shrill noise on a stringed instrument, as a bad player would do. A Jack denotes a low or mean person, and is occasionally used as a term of reproach. Thus Horatio is afterwards called "swearing Jack." Twangling Jack may sometimes allude to that little machine in harpsichords and spinnets in which the quill is placed that strikes the wires. The jangling Jack mentioned in Mr. Steevens's note is not connected with the other. He is a mere prating fellow. Thus in Drant's translation of Horace's ninth satire, 1567, 4to: "A prater shal becom his death, Therefore, let him alwayes, If he be wise, shun jangling jackes, After his youthful dayes." Scene 1. Page 461. Gre. My hangings all of Tyrian tapestry. Whether the purple of Tyre be here alluded to is doubtful. There is a Turkish city of some celebrity in Natolia called Tiria, where, according to the account of Paul Lucas, carpets are manufactured; and in the Comedy of errors, Act IV. Scene 1, mention is made of Turkish tapestry. ACT III.Scene 1. Page 470. Luc. ... for, but I be deceiv'd. Mr. Malone has well explained this word as meaning unless, in which sense it is often used by Shakspeare. It is the Saxon bu?on, nisi. Sometimes it was used with if, as "I wol breake thy heed but if thou get the hense;" from Terence's "Diminuam ego tibi caput, nisi abis," Udall's Floures from Latine, 1533, 12mo. Scene 2. Page 487. Pet. Go to the feast, revel and domineer. So in Tarlton's Jests, "T. having been domineering very late at night with two of his friends." In these instances to domineer is to bluster. Scene 2. Page 487. Pet. She is my goods, my chattels; she is my house, My houshold stuff, my field, my barn, My horse, my ox, my ass, my any thing. In the anonymous play of A knacke to knowe a knave, 1594, one of the old men says, "My house? why, 'tis my goods, my wyfe, my land, my horse, my ass, or any thing that is his." If Mr. Malone's conjecture respecting the date of The taming of the shrew be well founded, it is difficult to say whether Shakspeare is the borrower, in this instance, or not. ACT IV.Scene 1. Page 494. Cru. ... their blue coats brushed—— Thus in Nashe's Have with you to Saffron Walden, or Gabriell Harvey's hunt is up, when this foul-mouth'd writer has accused his adversary Harvey of defrauding Wolfe his printer of thirty-six pounds, he adds, that he borrowed of him a The practice of giving liveries to menial servants has not originated in modern times. It is mentioned in some of the statutes made in the reign of Richard the Second. In that of Edward the Fourth the terms livery and badge appear to have been synonymous, the former having no doubt been borrowed from the French language, and signifying a thing delivered. The badge consisted of the master's device, crest, or arms, on a separate piece of cloth, or sometimes silver, in the form of a shield, fastened to the left sleeve. Greene, in his Quip for an upstart courtier, speaking of some serving men, says, "their cognizance, as I remember, was a peacocke without a tayle." In queen Elizabeth's time the nobility gave silver badges, as appears from Hentzner's Travels, p. 156, edit. Norimb. 1612, 4to. "Angli magnifici domi forisque magna assectantium famulorum agmini secum trahunt, quibus in sinistro brachio scuta ex argento facta appendunt." But this foolish extravagance was not limited to persons of high rank. Fynes Moryson, speaking of the English apparel, informs us that "the servants of gentlemen were wont to weare blew coates, with their masters badge of silver on the left sleeve, but now they most commonly weare clokes garded with lace, all the servants of one family wearing the same liverie for colour and ornament:" we are therefore to suppose that the sleeve badge was left off in the reign of James I. Yet the badge was at one time so general an accompaniment to a blue coat, that when any thing wanted its usual appendage, it was proverbially said to be like a blue coat without a badge. The custom of clothing persons in liveries and badges was not confined to menial servants. Another class of men called retainers, who appear to have been of no small importance among our ancestors, were habited in a similar manner. They were a sort of servants, not residing in the master's house like other menial domestics, but attending occasionally for the purpose of ostentation, and retained by the annual donation of a livery consisting of a hat or hood, a badge, and a suit of clothes. As they were frequently kept for the purpose of maintaining quarrels and committing other excesses, it became necessary to impose heavy penalties on the offenders, both masters and retainers. In process of time they were licensed. Strype complains of the too great indulgence of queen Mary in this respect. "She granted," says he, "more by half in her short five years than her sister and successor in thirteen. For in all that time there were but fifteen licenses of retainer granted, whereas queen Mary had granted nine and thirty. She was more liberal also in yielding the number of retainers to each person, which sometimes amounted to two hundred. Whereas Q. Elizabeth never yielded above an hundred to any person of the greatest quality, and that rarely too. But Bishop Gardiner began that ill example, who retained two hundred men: whereas under Q. Elizabeth the Duke of Norfolk retained but an hundred; and Parker, archbishop of Canterbury, but forty." He has added a list of the persons to whom Mary granted licenses, and the number of persons retained. Eccl. memorials, iii. 479. Nor did these retainers always consist of men of low condition. The entertaining author of a book entitled A health to the gentlemanly profession of serving men, or the serving man's comfort, 1598, 4to, (to whom these notes have occasionally been indebted, and who with good reason is supposed to have been Jervis Markham,) has certainly alluded to them "The nobles of our land Were much delighted then, To have at their command A crew of lusty men; Which by their coats were known Of tawny, red or blue, With crests on their sleeves shown, When this old cap was new." Before we dismiss the present subject, it will be necessary to observe that the badge occurs in all the old representations of posts or messengers. On the latter of these characters it may be seen in the 52nd plate of Mr. Strutt's first volume of The dress and habits of the people of England, where, as in the most ancient instances, the badge is affixed to the girdle; but it is often seen on the shoulder, and even on the hat or cap. These figures extend as far back as the thirteenth century, and many old German engravings exhibit both the characters with a badge that has sometimes the device or arms of the town to which the post belongs. He has generally a Scene 1. Page 496. Pet. Where be these knaves? what no man at door. Although door might in the middle of a line be pronounced as a dissyllable, it is submitted that it cannot, with any propriety, at the end. It were better to suppose an omission at the press, and read "at the door." Scene 2. Page 506. Tra. That teacheth tricks eleven and twenty long. We have here a very uncommon and perhaps unique expression; but it seems to mean no more than that the tricks were of an extraordinary kind. Eleven and twenty is the same as eleven score, which signified a great length or number "Myself and seven more We fought eleven score." Scene 3. Page 513. Kath. Why then the beef, and let the mustard rest, &c. This part of the dialogue was in all probability suggested by the following whimsical story in Wits, fittes and fancies, 1595, 4to:—"A clowne having surfeited of beefe, and being therewith extreame sicke, vow'd never whiles he liv'd to eat beefe more, if it pleas'd God he might escape for that once: Shortlie after having his perfect health again, he would needs have eaten beefe, and his sister putting him in mind of his vow, hee answered: True (sister) not without mustard (good L.) not without mustard." This is not the only use that Shakespeare has made of this curious book, which was, in part, translated from a Spanish work, entitled La floresta Spagnola, by Anthony Copley, who was the author of a poem printed at the end, called Love's owle: In dialogue-wise betweene love and an olde man. Of this poem Copley thus speaks in his dedication: "As for my Loves owle, I am content that Momus turne it to a tennis-ball if he can, and bandy it quite away: namelie, I desire M. Daniel, M. Spencer, and other the Prime Poets of our time, to pardon it with as easie a frowne as they please, for that I give them to understand, that an Universitie Muse never pend it, though humbly devoted thereunto." Scene 3. Page 514. Pet. And all my pains is sorted to no proof. This is explained by Dr. Johnson, "and all my labour has proved nothing." It rather means, "all my labour is adapted to no approof," or "I have taken all this pains without approbation." Approof is used by Shakspeare in this sense, and should be here printed with an apostrophe, 'proof. Scene 4. Page 529. Bion. Take your assurance of her cum privilegio ad imprimendum solum. This is not the only instance in which our poet has borrowed his broad metaphors from the typographical art. In The winter's tale, Act V. Scene 1, we have, "Your mother was most true to wedlock, prince; for she did print your royal father off, conceiving you." To the stories already mentioned in the notes to this play as resembling that of the induction, the following are to be added:—1. The sleeper awakened, in the Arabian nights. This is probably the original of all the rest. 2. A similar incident in the story of Xailoun in the Continuation of the Arabian nights. 3. In The apophthegms of King James, King Charles, the marquess of Worcester, &c., 1658, 12mo, there is the story of an old bachelor named Thomas Deputy, who at the marriage of Edward Lord Herbert taking a fancy to one of the bride's waiting-maids, was persuaded by the old Marquess of Worcester to marry her at the same time. Thomas, being overpowered on this occasion with the joy he felt from the liberal donations of the noble assistants at the wedding, and also with the good wine that was freely circulated, became altogether incapable of consummating his marriage; and the Marquess, after relating to the company "the story of the begger who was made to believe he did but dream of the happiness that was really acted," determined to make the experiment in the person of old Thomas, and accordingly ordered that he "should be disrobed of his new wedding garment, the rest of his fine cloaths taken from him, and himself carried unto his old lodging in the porter's lodge, and his wife to respite the solemnization of the marriage bed untill his comportment should deserve so fair an admission: which was done accordingly. The next morning made the The author of the story in the Tatler might have used a novel in the Piacevoli notti of Straparola, nott. 8, fab. 2. and the outline of the Taming of the shrew may be found in a Spanish work entitled El conde Lucanor, 1643, 4to, composed by Don Juan Manuel, nephew to Ferdinand the fourth king of Castile. The character of Petruchio bears some resemblance to that of Pisardo in Straparola's Novels, night 8, fab. 7. |