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'Tis in my head to do my master good:-
“ You have been at noddy, I see.
queen nor king.” Steevens.
if I fail not of my cunning.) As this is the conclusion of an act, I suspect that the poet designed a rhyming couplet. Instead of cunning we might read-doing, which is often used by Shakspeare in the sense here wanted, and agrees perfectly well with the beginning of the line" a child shall get a sire.” After this, the former editors add
Sly. Sim, when will the fool come again ?* “ Sim. Anon, my lord.
Sly. Give us some more drink here; where's the tapster? “ Here, Sim, eat some of these things.
“Sim. I do, my lord.
· Sly. Here, Sim, I drink to thee." These speeches of the presenters, (as they are called) are not in the folio. Mr. Pope, as in some former instances, introduced them from the old spurious play of the same name; and therefore we may easily account for their want of connexion with the present comedy. I have degraded them as usual into the note. By the fool in the original piece, might be meant Sander the ser. vant to Ferando, (who is the Petruchio of Shakspeare) or Ferando himself.
It appears, however, from the following passage in the eleventh Book of Thomas Lupton's Notable Things, edit. 1660, that it was the constant office of the fool to preserve the stage from vacancy:
“79. When Stage-plays were in use, there was in every place
when will the fool come again?] The character of the fool has not been introduced in this drama, therefore I believe that the word again should be omitted, and that Sly asks, When will the fool come? the fool being the favourite of the vulgar, or, as we now phrase it, of the upper gallery, was naturally expected in every interlude. Fohnson.
ACT III.....SCENE I.
A Room in Baptista's House. Enter LUCENTIO, HORTENSIO, and BIANCA. Luc. Fiddler, forbear; you grow too forward, sir: Have you so soon forgot the entertainment Her sister Katharine welcom'd
Luc. Preposterous ass! that never read so far
Hor. Sirrah, I will not bear these braves of thine.
Bian. Why, gentlemen, you do me double wrong, To strive for that which resteth in my choice: I am no breeching scholarl in the schools;
one that was called the Foole; as the Proverb saies, Like a Fool in a Play. At the Red Bull Play-house it did chance that the Clown or the Fool, being in the attireing house, was suddenly called upon the stage, for it was empty. He suddenly going, forgot his Fooles-cap. One of the players bad his boy take it, and put it on his head as he was speaking: No such matter, (saies the Boy) there's no manners nor wit in that, nor wisdom neither; and my master needs no cap, for he is known to be a Fool without it, as well as with it.” Steevens.
- this is -] Probably our author wrote this lady is, which completes the metre, wrangling being used as a trisyllable.
Malone. We should read, with Sir T. Hanmer:
But wrangling pedant, know this lady is. Ritson.
no breeching scholar -] i.e. no school-boy liable to corporal correction. So, in King Edward the Second, by Marlow, 1598:
“ Whose looks were as a breeching to a boy." Again, in The Hog has lost his Pearl, 1614: “. he went to fetch whips, I think, and, not respecting my honour, he would have breech'd me."
I'll not be tied to hours, nor 'pointed times,
[To BIAN.--Hor. retires. Luc. That will be never;-tune your instrument. Bian. Where left we last?
Luc. Here, madam:-
Hic steterat Priami regia celsa senis.
Luc. Hac ibat, as I told you before, Simois, I am Lucentio,hic est, son unto Vincentio of Pisa.-Sigeia tellus, disguised thus to get your love;— Hic steterat, and that Lucentio that comes a wooing Priami, is my man Tranio,—regia, bearing my port.--celsa senis, that we might beguile the old pantaloon.2
Hor. Madam my instrument's in tune. [Returning Bian. Let's hear;
[Hor. plays. O fy! the treble jars.
Luc. Spit in the hole, man, and tune again.
Bian. Now let me see if I can construe it: Hac ibat Simois, I know you not; hic est Sigeia tellus, I trust you not;-Hic steterat Priami, take heed he hear us not; regia, presume not;-celsa senis, despair not.
Hor. Madam, 'tis now in tune.
All but the base.
Again, in Amends for Ladies, 1618:
“If I had had a son of fourteen that had served me so, I would have breech'd him.” Steevens.
- pantaloon.] The old cully in Italian farces. Johnson. 3 Pedascule,] He should have said, Didascale, but thinking this too honourable, he coins the word Pedascule, in imitation of it, from pedant. Warburton.
I believe it is no coinage of Shakspeare's, it is more propable that it lay in his way, and he found it. Steevens.
Bian. In time I may believe, yet I mistrust.*
Luc. Mistrust it not; for, sure, Æacides Was Ajax,5 callid so from his grandfather.
Bian. I must believe my master; else, I promise you, I should be arguing still upon that doubt: But let it rest.-Now, Licio, to you:Good masters, take it not unkindly, pray, That I have been thus pleasant with you both. Hor. You may go walk, [to Luc.) and give me leave
Luc. Are you so formal, sir? well, I must wait,
Bian. Why, I am past my gamut long ago.
A re, to plead Hortensio's passion:
C faut, that loves with all affection:
4 In time I may believe, yet I«mistrust.] This and the seven verses that follow, have in all the editions been stupidly shuffled and misplaced to wrong speakers; so that every word said was glaringly out of character.' Theobald.
- for, sure, Æacides &c.] This is only said to deceive Hortensio, who is supposed to listen. The pedigree of Ajax, however, is properly made out, and might have been taken from Golding's version of Ovid's Metamorphoses, Book XIII:
- The highest Jove of all “ Acknowledgeth this Æacus, and dooth his sonne him
call. “ Thus am I Ajax third from Jove.” Steevens. 6 Good masters,] Old copy-master. Corrected by Mr. Pope.
Malone. but I be deceio'd,] But has here the signification of una less. Malone.
D sol re, one clift, two notes have I;
E la mi, show pity, or I die.
Enter a Servant. 9
books, And help to dress your sister's chamber up; You know, to-morrow is the wedding-day. Bian. Farewel, sweet masters, both; I must be gone.
[Exeunt Bian. and Serv. Luc. 'Faith, mistress, then I have no cause to stay.
[Erit. Hor. But I have cause to pry into this pedant; Methinks, he looks as though he were in love:Yet if thy thoughts, Bianca, be so humble, To cast thy wand’ring eyes on every stale, Seize thee, that list: If once I find thee ranging, Hortensio will be quit with thee by changing. [Exit.
The same. Before Baptista's House. Enter BAPTISTA, GREMIO, TRANIO, KATHARINA,
BIANCA, LUCENTIO, and Attendants. Bap. Signior Lucentio, [t0 TRA.] this is the 'pointed
day That Katharine and Petruchio should be married,
8 To change true rules for odd inventions.] The old copy reads -To charge true rules for old inventions. The former emendation was made by the editor of the second folio; the latter by Mr. Theobald. Old, however, may be right. I believe, an opposition was intended. As change was corrupted into charge, why might not true have been put instead of new ? Perhaps the author wrote :
To change new rules for old inventions. i. e. to accept of new rules in exchange for old inventions.
Malone. 9 Enter a Servant.] The old copy reads-Enter a Messenger --who, at the beginning of his speech is called-Nicke. Ritson.
Meaning, I suppose, Nicholas Tooly. See Mr. Malone's Historical Account of the English Stage. Steevens.