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Another dowry to another daughter,

And craves no other tribute at thy hands, For she is changed as she had never been. But love, fair looks, and true obedience ;

Pet. Nay, I'll win my wager better yet; Too little payment for so great a debt. And shew more sign of her obedience,

Such duty as the subject owes the prince, Her new-built virtue and obedience.

Even such a woman oweth to her husband :

And when she's froward, peevish, sullen sour, Re-enter KATHARINA, with BIANCA and Widow.

And not obedient to his honest will, See where she comes : and brings your froward What is she but a foul contending rebel, wives

And graceless traitor to her loving lord ? As prisoners to her womanly persuasion.- I am ashamed that women are so simple Katharine, that cap of yours becomes you not; To offer war where they should kneel for peace; Off with that bauble, throw it under foot.

Or seek for rule, supremacy, and sway, [KATHARINA pulls off her cap, and throws Where they are bound to serve, love, and obey. it down.

Why are our bodies soft, and weak, and smooth, Wid. Lord, let me never have a cause to sigh Unapt to toil and trouble in the world, Till I be brought to such a silly pass !

But that our soft conditions, and our hearts, Bian. Fie! what a foolish duty call you this? Should well agree with our external parts ?

Luc. I would your duty were as foolish too: Come, come you froward and unable worms ! The wisdom of your duty, fair Bianca,

My mind hath been as big as one of yours, Hath cost me an hundred crowns since supper- My heart as great; my reason haply more, time.

To bandy word for word, and frown for frown : Bian. The more fool you, for laying on my duty. But now I see our lances are but straws; Pet. Katharine, I charge thee, tell these head-Our strength as weak, our weakness past comstrong women

pare, What duty they do owe their lords and husbands. That seeming to be most which we indeed least are.

Wid. Come, come, you 're mocking; we will then vail your stomachs, for it is no boot; have no telling

And place your hands below your husband's foot; Pet. Come on, I say; and first begin with her. In token of which duty, if he please, Wid. She shall not.

My hand is ready, may it do him ease. Pet. I say she shall;— and first begin with her. Pet. Why, there's a wench! — Come on, and Kath. Fie, fie! unknit that threatening, unkind

Kate. brow;

Luc. Well, go thy ways, old lad; for thou shalt And dart not scornful glances from those eyes,

ha't. To wound thy lord, thy king, thy governor : Vin. ”T is a good hearing when children are toIt blots thy beauty, as frosts bite the meads;

ward. Confounds thy fame, as whirlwinds shake fair buds; Luc. But a harsh hearing when women are froAnd in no sense is meet or amiable.

ward. A woman moved is like a fountain troubled, Pet. Come, Kate, we'll to-bed : Muddy, ill-seeming, thick, bereft of beauty; We three are married, but you two are sped. And while it is so, none so dry or thirsty ’T was I won the wager, though you hit the white; Will deign to sip or touch one drop of it.

[TO LUCENTIO. Thy husband is thy lord, thy life, thy keeper, And being a winner, God give you good night; Thy head, thy sovereign; one that cares for thee

[Exeunt PETRUCHIO and KATHARINA. And for thy maintenance : commits his body Hor. Now go thy ways, thou hast tamed a To painful labor, both by sea and land;

cursed shrew. To watch the night in storms, the day in cold, Luc. 'Tis a wonder, by your leave, she will be While thou liest warm at home, secure and safe;

[Exeunt.

tamed so.

kiss me,

1

[graphic][subsumed]

“ Paucus pallabris; let the world slide. Sessa ! "

But soft, what sleepy fellow is this lies here?
Induction, Scene 1.

Or is he dead? See one what he doth lack.
This is Sly's version of two Spanish phrases :-"pocas palabras,"

Serv. My lord, 'tis nothing but a drunken sleep: few words; and “cessa," be quiet.

His head is too heavy for his body,

And he hath drunk so much that he can go no further. “ Go by, says Jeronimy ;-go to thy cold bed and warm thee."

Lord. Fie! how the slavish villain stinks of drink? Induction, Scene 1.

Ho, sirrah, arise! What, so sound asleep? Satirical allusion is here supposed to be made to “ HIERONYMO, OR

Go take him up, and bear him to my house, THE SPANISH TRAGEDY," in which the hero exclaims,

And bear him easily, for fear he wake;

And in my fairest chamber make a fire, “ Hieronymo, beware; go by, go by.”

And set a sumptuous banquet on the board, And again,

And put my richest garments on his back, “What outcry calls me from my naked bed ?”

Then set him at the table in a chair;

When that is done, against he shall awake, “Imust go felch the thirdborough.”—Induction, Sceno 1.

Let heavenly music play about him still.

Go two of you away, and bear him hence, Theobald here substituted “thirdborough” for headborough,"

And then I'll tell you what I have devised. which is the reading of the folio. The emendation is well founded on

(Exeunt two, with SLIE. Sly's reply, “third or fourth,” &c. The offices were of nearly equiva

Now take my cloak, and give me one of yours; lent authority. In the “ CONSTABLE'S GUIDE(1771), it is said,

All fellows now, and see you take me so : “ There are in several counties of this realm other officers; that is, by

For we will wait upon this drunken man, other titles, but not much inferior to our constables; as in Warwick

To see his countenance when he doth awake shire, a thirdborough.”

And find himself clothed in such attire,

With heavenly music sounding in his ears, “ Let him come, and kindly.

And such a banquet set before his eyes;
(Lies down on the ground and falls asleep."

The fellow sure will think he is in heaven;
Induction, Scene 1.

But we will be about him when he wakes
The opening of the older play is exceedingly tame, compared with

And see you call him lord at every word; that in the text :

And offer thou him his horse to ride abroad;

And thou his hawk and bounds to bupt the decr; Enter a tapster beating out of his doors, SLIE, drunken.

And I will ask what suit he means to wear;
Tap. You whoreson drunken slave, you had best be gone

And whatsoe 'er he saith, see you do not laugh,
And empty your drunken paunch somewhere else, .

But still persuade him that he is a lord.”
For in this house thou shalt not rest to-night.
Sly. Tilly vally; by crisee, Tapster, I'll fese you anon.

This extract commences somewhat in “ Ercles' vein," and is alta Fill 's the other pot, and all's paid for, look you.

gether much inferior to the parallel passage in Shakspeare, yet still I do drink it of minc own instigation.

exhibits poetic fancy and an ear for versification. Here I'll lie a while. Why, Tapster, I say, Fill's a fresh cushen here.

Brach Merriman, the poor cur is embossed." Heigh-ho, hore's good warm lying.. [He falls asleep.

Induction, Scene 1. We have here not an atom of the humor of Sly the second. In- Phillips, in his “WORLD OF WORDS,” states that “Embossed is a deed the comic part generally of the original drama is but poor. The term in hunting, when a deer is so hard chased that she foams at tho more serious portions are often much better, and not unworthy of mouth. Greene, to whom the play is by many conjecturally given.

“And-when he says he is — , say that he dreams." The following passage, which immediately follows the above, affords a fair specimen.

Induction, Scene 1.

This blank is supposed to be intended by the author. Tho meter of “ Enter a Nobleman and his Men, from hunting.

the line is perfect as it stands. In the “TEMPEST,” a similar hiatus is Lord. Now that the gloomy shadow of the night,

found:- I should know that voice : it should be — but he is drownLonging to view Orion's drisling looks,

ed; and these are devils."
Leaps from th’antartic world unto the sky,
And dims the welkin with her pitchy breath,

“So please your lordship to accept our duty.”—Induction, Scene 1.
And darksome night o'ershades the crystal heavens,
Here break we off our hunting for to-night.

It was, in Shakspeare's time, the custom of players to travel in Couple up the hounds, let us hie home,

companies, and offer their services at great houscs. In the Earl of And bid the huntsmen see them meated well,

Northumberland's Household Book, which was begun in the year For they have all deserved it well today.

1512, there is this entry :-“Reward to Players. Item, to be payd to the said Richard Gowge and Thomas Percy, for rewards to players

She shall have no more eyes to sce withal than a cal.” for playes played in Christynmas by stranegers in my house, after

Act I., Scene 2. 200. every play, by estimacion somme 33s. 4d. Which ys apoynted to be paid to the said Richard Gowge and Thomas Percy at the said

The absurdity of this comparison is no doubt intentional on the Christynias, in full contentacion of the said rewardys, 335. 11.

part of the author: it is in keeping with such characters as Grumio, who on such occasions take, right or wrong, whatever proverbial

phrase happens to suggest itself. « A Bedchamber in the Lord's Ilouse." — Induction, Scene 2. The original stage direction in the folio here is, “ Enter aloft the Drunkard with Attendants.” It appears that Sly and the other characters in the Induction were, at this time and during the representa

And toward the education of your daughters, tion of the comedy, intended to be exhibited in a balcony above

I here bestow a simple instrument, the stage. So afterwards, at the end of this act, there is a direction,

And this small packet of Greek and Latin books. « The Presenters above speak.”

Act II., Scene 1.

It was customary in Elizabeth's time to instruct young ladies of For God's sake a pot of small ale.” -- Induction, Scene 2. quality in the learned languages. That queen herself was an in

stance of the kind; as were Lady Jane Grey and many others, whose This beverage is mentioned in the accounts of the Stationers' Com

histories have come down to us. pany for the year 1558:-“For a stande of small ale.”

It is supposed to be the same liquor as is now called small beer; no mention

Basons and ewers to lave her dainty hands. being made of the last in the same accounts, though“ duble bere” and

Act II, Scene 1. “duble ale” are frequently recorded. Sly subsequently reverts to his first request :—“Once again, a pot o' the smallest ale.” Its thin- These were articles formerly of great account. They were usually ness, which might have been an objection on the preceding day, is of silver, and probably their fashion was much attended to, because now its most desirablo quality to the parched palate of the recovering they were regularly exhibited to the guests before and after dinner, drunkard.

it being the custom to wash the hands at both those times.

In ivory coffers I have stuffed my crowns; “ Am not I Christopher Sly, old Sly's son of Burton-heath "

In cypress chests my arras, counterpaints,
Induction, Scene 2.

Costly apparel, tents and canopies.”— Act II., Scene. 1. There is a village in Warwickshire called Burton (or Barton) on the

The term "counterpoint” is equivalent to counterpane. CounterHeath, in which lived Mr. Dover, founder of the Cotswold games. - point is a species of music, in which notes of equal duration, but of Wincot, the residence of Dame Hacket, is supposed to be Wilmecote, different harmony, are set in opposition to each other: in like manalso a village in Warwickshire, about three miles north of Stratford, ner, counterpanes were composed of patchwork, so contrived that in which resided the poet's maternal grandfather, Robert Arden.

overy pane or partition in them was contrasted with one of a different There is also a bamlet named Wincot, about four miles from Strat- color, though of the same dimensions. Counterpoints were in ancient ford, on the road to Cheltenham.

times extremely costly. Stowe states that in Wat Tyler's rebellion,

when the insurgents broke into the wardrobe in the Savoy, they de “ And say you would present her at the leet,

stroyed a coverlet worth a thousand marks. Tents were hangings, Becausc she brought stone jugs and no sealed quarts."

probably from the tenters by which they were suspended.

Induction, Scene 2. The allusion is to the court-leet, or court of the manor, held before

" Peuter and brass, and all things that did belong the steward. In Kitchen's work “On Courtg” (1603), we find, - To house or house-keeping." - Act II., Scene 1. “ Also, if tapsters sell by cups and dishes, or measures sealed or not

Pewter was at the time in question an article too costly to be used scaled, is inquirable.”

in common. It appears from the Earl of Northumberland's llousehold Book (before quoted), that vessels of pewter were hired by the year.

“ A vengeance on your crafty, withered hide Such as the daughter of Agenor had." - Act I., Scene 1.

Yet I have faced it with a card of len.” – Act II., Scene 1. The allusion is to Europa.

This phrase is often used by old writers; it seems to have conveyed

a particular allusion to some game of cards in vogue at tho period; Being perhaps ( for aught I see), two and thirty, a pip out ?

and to have been applied to those persons who gained their ends by Act I., Scene 2.

impudence, and bold, confident assertion.

At the end of this act, in the old play, occurs a short dialogue beThe allusion here is supposed to be the old game of bone-ace, or tween Sly and his associates. It will be seen that it is quite desti one-and-thirty. A pip is a spot upon a card. In Massinger's “FA- tute of point or character:TAL Dowry,” we find, "You think, because you served my lady's inother, you are thirty-two years old, which is a pip out, you know.”

Slie. When will the fool come again?
Sim, Anon, my lord.

Slic. Give's some more drink here. Where's the Tapster? Hero “ Be she as foul as was Florentius' love." -- Act I., Scene 2.

Sim, eat some of these things. Florent is the name of a Knight in Gower's " CONFESEIO AMAN

Sim. I do, my lord. TIS," who bound himself to marry a deformed hag, provided she

Slie. Here, Sim, I drink to thee. taught him the solution of a riddle on which his life depended.

“ An he begin once he'll rail in his rope-tricks." — Act I., Scene 2.

The term “rope-tricks” seems to be here used in the senso of abuso or rogucry. So in “BULLEIN'S DIALOGUE” (1578): — “ It is portation to hear the clowting-beetles to rowle in their rope-ripe terms."

An old hat and · The humor of forty fancies' pricked in'l for a feather."- Act III., Scene 2.

The meaning probably is, that Grumio had stack forty ballads together, and made something like a foather out of them. In “Sapno AND PIO” 1591), we find, -“I must now fall from love to labor;

It was the friar of orders grey, and endeavor with mino oar to get a fare, not with my pen to write a

As he forth walked on his way." - Act IV., Scene 1. fancy."

These lines, and those that shortly precede them in the text, “Quaffed off'the muscadel, and threw the sops

“Where is the life that late I led,” are no doubt scraps of some an. All in the sexton's face.” — Act III., Scene 2.

cient ballad. There are many such dispersed through Shakspeare's The custom here alluded to, of introducing a bowl of wine into the plays. Dr. Percy has cleverly availed himself of some of them in the church at a wedding, was anciently a constant ceremony. It was

following piece of modern Gothic,” entitled “The FRIAR OF ORDERS

GREY." practiced at the marriage of Queen Mary and Philip of Spain, in Winchester Cathedral, 1554; and more immediately in Shakspeare's day,

It was a Friar of orders grey, at the nuptials of the Elector Palatine to the daughter of James I.,

Walked forth to tell his beads;

And he met with a lady fair, 1612. It appears, also, from a rubric in a Salisbury missal, that the

Clad in a pilgrim's weeds. kiss was a part of the proceeding.

Now, heaven thee save, thou reverend friar; “ Pet. Grumio, my horses.

I pray thee tell to me
GRU. Ay, sir, they be ready; the oats have eaten the horses."

If ever, at your holy shrine
Act III., Scene 2.

My true-love thou did see.
This is, perhaps, merely a slip of Grumio's, arising from fright and

And how should I your true love know flurry. It is said, bowever, that there is a ludicrous expression, ap

From any other one? plied to horses which have stayed so long in a place as to have eaten

O, by his cockle hat and staff, more than they are worth, that "their heads are too big for the sta

And by his sandal-shoon. ble door;" and Grumio, in the same satirical spirit, may mean to

The holy father thus replied: infer that the oats, being of more account than the horses, have swallowed up their worth. The following is the corresponding passage

O lady, he is dead and gone;

And at his head a green grass turf, from the older play. The dialogue is between Ferando (Petruchio)

And at his heels a stone. and Sander (Grumio):

Weep no more, lady! lady, weep no more, Fer. Tut, Kate, I tell thee we must needs go home.

Thy sorrow is in vain; Villain, bast thou saddled my horse?

For violets plucked, the sweetest showers San. Which horse? your curtal?

Will ne'er make grow again.
For. Zounds; you slave, stand you prating here!

Yet stay, fair lady, rest awhile,
Saddle the bay gelding for your mistress.
Kate. Not for me, for I will not go.

Beneath yon cloister wall;
Sun. The ostler will not let me have him; you owe ten-ponce for his

See through the hawthorn blows the wind,

And drizzling rain doth fall. meat, and sixpence for stuffing my mistress' saddle. Fer. Ilere, villain, go pay him straight.

O stay me not thou holy friar, San. Shall I give them another peck of lavender ?

O stay me not, I pray; Fer. Out, slave, and bring them presently to the door.”

No drizzling rain that falls on me

Can wash my fault away.

" At last I spied

An ancient angel coming down the hill." Fire, fire; cast on no water."- Act IV., Scene 1.

Act IV., Sceno 2. This is an allusion to an old popular catch, consisting of these This phrase was equivalent to the “ good soul" of the present day, lines:

signifying one of an easy, unsuspicious disposition. Cotgrave thus Scotland burneth, Scotland burneth.

explains the term:-“An old angel,- by metaphor, a fellow of the Fire, fire; - Fire, fire;

old sound, honest, worthie stamp." Cast on some more water."

But I roho never knew how to entreat, " Jack boy! ho boy !- Act IV, Scene 1.

Nor never needed that I should entreat."

Act IV., Scene 3. These words are the commencement of the following round for four voices, published in a musical work (1609), entitled “PAYME- It is broadly stated, by an intelligent contemporary, that the secLIA," &c.:

ond of the lines here quoted "is omitted in every edition of Shaks“ Jacke boy, ho boy, newes!

peare of the present century — large or small — dear or cheap-edited The cat is in the well:

or not edited. We have taken some pains,” the writer continues, " to Let us ring now for her knell,

trace the origin of this typographical blunder, and find that the line Ding, dong, ding, dong, bell.”

was first left out in Reed's edition, of 1803. This, being the standard

edition, has furnished the text of every succeeding one.” — In the Be the jacks fair within, the jills fair without, the carpets laid, and great majority of instances, we have no reason to doubt our contemeverylhing in order ?— Act IV., Scene 1.

porary's accuracy respecting the point in question; but as he so emThis is probably a play upon the words “ Jack and Jill,” as signi- phatically uses the word every (the italic character is not ours), it is fying two drinking measures, as well as men and maid servants. The

but fair towards others to state that a copy called “The London Stago

Edition” (1 vol., Sherwood, 1825), contains the lino referred to. This Jacks are said to have been made of leather; the Jills of metal. The

edition is printed with considerable accuracy (by Gye and Balne), carpets mentioned in the text were used for tables, not for floors.

and embraces a well selected body of Prolegomena.

The unlucky line,
Where are those - Sit down, Kate, and welcome.
Soud, soud, soud, soud!” — Act IV., Scene 1.

“ Nor never needed that I should entreat, The words in the last live are plausibly supposed to be coined by will also be found in a handsome edition in 14 vols., edited by

Amid the poet, to express the exclamations made by a person heated and Manley Wood, A. M., and published by Kearsley, in 1806. fatigued.

the vast number of versions that have been issued since Reed's, there

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