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to his hole, the cuckold' to his horn, as a scolding quean to a wrangling knave, as the nun's lip to the friar's mouth; nay, as the pudding to his skin.
Count. Have you, I say, an answer of such fitness for all questions ?
Clo. From below your duke, to beneath your constable, it will fit any question.
Count. It must be an answer of most monstrous size, that must fit all demands.
Clo. But a trifle neither, in good faith, if the learned should speak truth of it: here it is, and all that belongs to't: Ask me, if I am a courtier ; it shall do you no harm to learn.
Count. To be young again *, if we could : I will
" Philosopher. “ Then put in Tom and Tibbe, and all bears sway as much as
you.” Steevens. The practice of marrying with a rush ring, mentioned by Şir John Hawkins, is very questionable, and it might be difficult to find any authority in support of this opinion. Douce.
Sir John Hawkins's alteration is unnecessary. It was the practice, in former times, for the woman to give the man a ring, as well as for the man to give her one. So, in the last scene of Twelfth-Night, the priest, giving an account of Olivia's marriage, says, it was
“ Attested by the holy close of lips,
M. Mason. I believe what some of us have asserted respecting the exchange of rings in the marriage ceremony, is only true of the marriage contract, in which such a practice undoubtedly prevailed. STEEVENS.
A rush ring seems to have been often a rural gift without any reference either to a marriage or a marriage contract. So, in Spenser's Pastorals, November, I. 113:
“thou great shepheard, Lobbin, how great is thy griefe !
“ The knotted rush ringes, and gilt rosmarie ?” Boswell. 4 To be young again,] The lady censures her own levity in trifling with her jester, as a ridiculous attempt to return back to youth. Johnson.
be a fool in question, hoping to be the wiser by your answer.
pray you, sir, are you a courtier ? Clo. O Lord, sir 4, There's a simple putting off;--more, more, a hundred of them.
Count. Şir, I am a poor friend of yours, that
Cro. O Lord, sir,—Thick, thick, spare not me.
Count. I think, sir, you can eat none of this homely meat.
Clo. O Lord, sir,—Nay, put me to't, I warrant you.
Count. You were lately whipped, sir, as I think.
Count. Do you cry, O Lord, sir, at your whipping, and spare not me? Indeed, your 0 Lord, sir, is very sequent to your whipping ; you would answer very well to a whipping, if you were but bound to't.
Clo. I ne'er had worse luck in my life, in myO Lord, sir : I see, things may serve long, but not serve ever.
Count. I play the noble housewife with the time, to entertain it so merrily with a fool.
Clo. O Lord, sir,—why, there't serves well again.
Clo. Not much commendation to them.
Count. Not much employment for you: You understand me?
4 O Lord, sir,] A ridicule on that foolish expletive of speech then in vogue at court. WARBURTON. Thus Clove and Orange, in Every Man out of his Humour:
“ You conceive me, sir ?- O Lord, sir !” Cleiveland, in one of his songs, makes his Gentleman" Answer, O Lord, sir? and talk play-book oaths."
Clo. Most fruitfully ; I am there before my legs.
Paris. A Room in the King's Palace.
Enter BERTRAM, LAFEU, and PAROLLES. LAF. They say, miracles are past; and we have our philosophical persons, to make modern 5 and familiar things, supernatural and causeless. Hence is it, that we make trifles of terrors; ensconcing ourselves into seeming knowledge, when we should submit ourselves to an unknown fear 7.
Par. Why, 'tis the rarest argument. of wonder, that hath shot out in our latter times.
BER. And so 'tis.
5 modern -] i. e. common, ordinary. So, in As You Like It :
“ Full of wise saws, and modern instances." Again, in the last Act of this play, Sc. III. “ with her modern gracemi
MALONE. - ENSCONCING ourselves into seeming knowledge,] To ensconce literally signifies to secure as in a fort. So, in The Merry Wives of Windsor : I will ensconce me behind the arras." Into (a frequent practice with old writers) is used for in.
STEEVENS. - unknown FEAR.] Fear is here an object of fear..
Johnson. 8 Par. So I say ; both of Galen and Paracelsus.
Laf. Of all the LEARNED and authentick fellows,] Shakspeare, as I have often observed, never throws out his words at random. Paracelsus, though no better than an ignorant and knavish enthusiast, was at this time in such vogue, even amongst the learned, that he had almost justled Galen and the ancients out of credit. On this account learned is applied to Galen, and
PAR. Right, so I say.
authentick or fashionable to Paracelsus. Sancy, in his Confession Catholique, p. 301, Ed. Col. 1720, is made to say: “ Je trouve la Riviere premier medecin, de meilleure humeur que ces gens-la. Il est bon Galeniste, et tres bon Paracelsiste. Il dit que la doctrine de Galien est honorable, et non mesprisable pour la pathologie, et profitable pour les boutiques. L'autre, pourveu que ce soit de vrais preceptes de Paracelse, est bonne à suivre
la verité, pour la subtilité, pour l'espargne ; en somme pour la Therapeutique.” WARBURTON.
As the whole merriment of this scene consists in the pretensions of Parolles to knowledge and sentiments which he has not, I believe here are two passages in which the words and sense are bestowed upon him by the copies, which the author gave to Lafeu. I read this passage thus :
“Laf. To be relinquished of the artists • Par. So I say.
Laf. Both of Galen and Paracelsus, of all the learned and authentick fellows“ Par. Right, so I say.” Johnson.
authentick fellows.” The phrase of the diploma is, • authenticè licentiatus.” MUSGRAVE.
The epithet authentick was in our author's time particularly applied to the learned. So, in Drayton's Owle, 4to. 1604:
“ For which those grave and still authentick sages,
MALONE. Again, in Troilus and Cressida :
“ As truth's authentick author to be cited.” Again, in Chapman's version of the eighth Iliad:
Nestor cut the geres
STEEVENS. Mr. Steevens would have made himself very merry with this note, had it been written by any other person, in which authentique is quoted in the sense of learned when applied to a sword.
Lar. I may truly say, it is a novelty to the world.
Par. It is, indeed : if you will have it in showing, you shall read it in, --What do you call thereo?
LAF. A showing of a heavenly effect in an earthly actor'.
Par. That's it I would have said ; the very same.
LAF. Why, your dolphin is not lustier? : 'fore me I speak in respect
Par. Nay, 'tis strange, 'tis very strange, that is the brief and the tedious of it; and he is of a most
9 Par. It is, indeed : if you will have it in showing, &c.] We should read, I think : " It is, indeed, if you will have it a showing -you shall read it in what do you call there-," TYRWHITT.
Does not, if you will have it in showing, signify in a demonstration or statement of the case? HENLEY.
"A showing of a heavenly effect, &c.] The title of some pamphlet here ridiculed. WARBURTON.
Why, your Dolphin is not lustier :] By dolphin is meant the dauphin, the heir apparent, and the hope of the crown of France. His title is so translated in all the old books.
STEEVENS. What Mr. Steevens observes is certainly true ; and yet the additional word
induces me to think that by dolphin in the passage before us the fish so called was meant. Thus, in Antony and Cleopatra :
6. The element he liv'd in." Lafeu, who is an old courtier, if he had meant the king's son, would surely have said —" the dolphin." 'I use the old spelling:
MALONE. In the colloquial language of Shakspeare's time, your was frequently employed as it is in this passage. “So, in Hamlet, the Grave-digger observes, that "your water is a sore decayer of your whorson dead body." Again, in As You Like It: "Your if is the only peace-maker.” Steevens.
I did not require to be told that your was thus employed in familiar language ; but my doubt was, if an old courtier would use such familiarity when speaking of a king's son. Be that as it may, my other reason for my explanation that Shakspeare has alluded to the gambols of the dolphin remains untouched.