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And if my legs were two such riding-rods,
My arms such eelskins stuff'd; my face so thin,
That in mine ear I durst not stick a rose,
Lest men should say, Look, where three-farthings

goes ! 8

His according to a mistaken notion formerly received, being the sign of the genitive case. As the text before stood there was a double genitive. MALONE.

my face fo thin,
That in mine ear I durft not stick a rose,

Left men foould say, Look, where three-farthings goes!] In this very obscure passage our poet is anticipating the date of another coin; humoroufly to rally a thin face, eclipsed, as it were, by a full blown role. 'We must observe, to explain this allusion, that Queen Elizabeth was the first, and indeed the only prince, who coined in England three-half-pence, and three-farthing pieces. She coined shillings, fix-pences, groats, three-pences, two-pences, threehalf-pence, pence, three-farthings, and half-pence. And these pieces all had her head, and were alternately with the rose behind, and without the rose. THEOBALD.

Mr. Theobald has not mentioned a material circumstance relative to these three-farthing pieces, on which the propriety of the allusion in some measure depends; viz. that they were made of filver, and consequently extremely thin. From their thinness they were very liable to be cracked. Hence Ben Jonson, in his Every Man in his Humour, says, “ He values me at a crack'd threefarthings." MALONE. So, in The Shoemaker's Holiday, &c. 1610:

Here's a three-penny piece for thy tidings.” “ Firk. "Tis but three-half-pence I think: yes, 'tis three-pence; I smell the role." STEEVENS.

The sticking roses about them was then all the court-fashion, as appears from this passage of the Confession Catholique du S. de Sancy, L. II. c. i: “ Je luy ay appris à mettre des roses par tous les coins," i. e. in every place about him, says the speaker, of one to whom he had taught all the court-fashions. WARBURTON.

The roses ftuck in the ear, were, I believe, only roses composed of ribbands. In Marston's What you will, is the following pallage:

Dupatzo the elder brother, the fool, he that bought the halfpenny ribband, wearing it in his ear,&c.

Again, in Every Man out of his Humour: "This ribband in my ear, or so.” Again, in Love and Honour, by Sir W. D'Avenant, 1649:

And, to his shape, were heir to all this land,
Would I might never stir from off this place,
I'd give it every foot to have this face;
I would not be fir Nob in any case."
Eli. I like thee well; Wilt thou forsake thy

fortune,
Bequeath thy land to him, and follow me?
I am a soldier, and now bound to France.
Bast. Brother, take you my land, I'll take my

chance :

« A lock on the left Gide, se rarely hung

« With ribbanding," &c. I think I remember, among Vandyck’s pictures in the Duke of Queensbury's collection at Ambrosbury, to have seen one, with the lock nearest the ear ornamented with ribbands which termi. nate in roles; and Burton, in his Anatomy of Melancholy, says, “ that it was once the fashion to stick real flowers in the ear."

At Kirtling, in Cambridgeshire, the magnificent refidence of the first Lord North, there is a juvenile portrait (supposed to be of Queen Elizabeth) with a red rose sticking in her ear. Steevens. Marston in his Satires, 1598, alludes to this fashion as fantastical:

Ribbanded cares, Grenada nether-stocks." And from the epigrams of Sir John Davies, printed at Middleburgh, about 1598, it appears that some men of gallantry in our author's time suffered their ears to be bored, and wore cheis mistress's filken shoe-strings in them. Malone.

9 And, to his shape, were heir to all this land,] There is no noun to which were can belong, unless the personal pronoun in the line Laft but one be understood here. I suspect that our author wrote

And though his shape were heir to all this land, Thas the sentence proceeds in one uniform tenour. Madam, an if my brother had my shape, and I had hisand if my legs were, &c.and though his shape were beir, &c. I would give - MALONE.

The old reading is the true one. To his shape" means in addition to it. So, in Troilus and Cressida :

“ The Greeks are strong, and skilful to their strength,
“ Fierce to their skill, and to their fierceness valiant.”

STEEVENS. I would not be fir Nob-) Sir Nob is used contemptuously for Sir Robert. The old copy reads-It would not be. The corsection was made by the editor of the second folio. I am not fure that it is necesary. MALONE.

Your face hath got five hundred pounds a year;
Yet sell your face for fivepence, and 'tis dear.-
Madam, I'll follow you unto the death.'
Eli. Nay, I would have you go before me thi-

ther. BAST. Our country manners give our betters way. . K. John. What is thy name?

Bast. Philip, my liege; so is my name begun; Philip, good old fir Robert's wife's eldest son. K. John. From henceforth bear his name whose

form thou bear'it: Kneel thou down Philip, but arise more great;: Arise sir Richard, and Plantagenet.

Bast. Brother by the mother's side, give me

your hand;

My father gave me honour, yours gave land:Now blessed be the hour, by night or day, When I was got, fir Robert was away.

3

4

more

- unto the death.] This expression (a Gallicism,-à la mort) is common among our ancientówriters. Steevens.

but arise more great;] The old copy reads only-rise. Mr. Malone conceives this to be the true reading, and that'" is here used as a disfyllable.” I do not suppress this opinion, though I cannot concur in it. Steevens.

Arise for Richard, and Plantagenet.] It is a common opinion, that Plantagenet was the surname of the royal house of England, from the time of King Henry II.; but it is, as Camden observes in his Remaines, 1614, a popular mistake. Plantagenet was not a family name, but a nick-name, by which a grandłon of Geffrey, the first Earl of Anjou was distinguished, from his wearing a broomftalk in his bonnet. But this name was never borne either by the first Earl of Anjou, or by King Henry II. the son of that Earl by the Empress Maude; he being always called Henry Fitz-Empress; his son, Richard Cæur-de-lion; and the prince who is exhibited in the play before us, John fans-terre, or lack-land. MALONE. Vol. VIII.

C

ELI. The very spirit of Plantagenet !-
I am thy grandame, Richard; call me so.
Bast. Madam, by chance, but not by truth:

What though??
Something about, a little from the right,

In at the window, or else o'er the hatch:9 Who dares not stir by day, must walk by night;

And have is have, however men do catch: Near or far off, well won is still well shot; And I am I, howe'er I was begot.

8

i Madam, by chance, but not by truth: What though?'] I am your grandfon, inadam, by chance, but not by honesty ;-what then?

Johnson. 8

Something about, a little from the right, &c.] This speech, composed of allusive and proverbial sentences, is obscure. I am, says the spritely knight, your grandjon, a little irregularly, but every man cannot get what he wishes the legal way. He that dares not

go about his designs by day, must make his motions in the night; be, to whom the door is shut, must climb the window, or leap the hatch. This, however, shall not depress me; for the world never enquires how any man got what he is known to porsess, but allows that to have is to have, however it was caught, and that he who wins, foot well, whatever was his skill, whether the arrow fell near the mark, or far off it. JOHNSON.

9 In at the window, &c.] These expressions mean, to be born out of wedlock. So, in The Family of Love, 1608 :

Woe worth the time that ever I gave fuck to a child that came in at the window !!Şo, in Northward Hoe, by Decker and Webster, 1607:

kindred that comes in o'er the hatch, and failing ta Westminster," &c. Such another phrafe occurs in Any Thing for

a quiet Life: then you keep children in the name of your own, which the suspects came not in at the right door," Again, in The Witches of Lancashire, by Heywood and Broome, 1634; “ then by your discourse that you came in at the window."-" I would not have you think I scorn my grannam's cat to leap over the hatch.Again: “ -- to escape the dogs hath leaped in at a window.”—“ 'Tis thought you came into the world that way, because you are a bastard." STEEVENS.

It appears

K. Foun. Go, Faulconbridge; now hast thou

thy desire, A landless knight makes thee a landed 'squire. Come, madam, and come, Richard; we must speed For France, for France; for it is more than need.

Bast. Brother, adieu ; Good fortune come to thee! For thou wast got i'the way of honesty.

[Exeunt all but the Bastard. A foot of honour better than I was; But many a many foot of land the worse. Well, now can I make any Joan a lady :Good den, fir Richard, God-a-mercy,* fellow ;And if his name be George, I'll call him Peter: For new-made honour doth forget men's names; 'Tis too respective, and too sociable, For your conversion. Now your traveller, 6

A foot of honour -] A step, un pas. JOHNSON. * Good den,] i. e. a good evening. So, in Romeo and Juliet:

“ God ye good den, fair gentlewoman." STEVENS.

-fir Richard,] Thus the old copy, and rightly. In A& IV. Salisbury calls him Sir Richard, and the King has just knighted him by that name. The modern editors arbitrarily read, Sir Robert. Faulconbridge is now entertaining himself with ideas of greatness, suggested by his recent knighthood. -Good den, fir Richard, he fupposes to be the salutation of a vasfal, God-a. mercy, fellow, his own supercilious reply to it, STEVENS. 5 'Tis too respective, and too fociable,

For your conversion.) Respective is refpe&ful, formal. So, in The Café is Altered, by Ben Jonson, 1609: “I pray you, fir; you are too respective in good faith."

Again, in the old comedy called Michaelmas Term, 1607: " Seem respective, to make his pride swell like a toad with dew. Again, in The Merchant of Venice, Act V:

“ You should have been respective," &c. For your conversion, is the reading of the old copy, and may be right. It seems to mean, his late change of condition from a private gentleman to a knight. Steevens.

Mr. Pope, without necessity, reads--for your converfing. Our author has here, I think, used a licence of phraseology that he

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