Coft. My fweet ounce of man's flefh, my in-cony Few (9)! Now will I look to his remuneration. Remuneration! O, that's the Latin word for three farthings three farthings remuneration. What's the price of this incle? a penny: No, I'll give you a remuneration: why, it carries it.-Remuneration !-why, it is a fairer name than a French crown (1). I will neyer buy and fell out of this word. SCENE III. Enter Biron. Biron. O my good knave Coftard, exceedingly well met. Coft. Pray you, Sir, how much carnation ribbon may a man buy for a remuneration? Biron. What is a remuneration? Coft. Marry, Sir, half-penny farthing. Biron. O, why then three farthings worth of filk. Coft. When would you have it done, Sir?. Coft. Well, I will do it, Sir. Fare you well. (9) My in-cony JEW !] Incony or kony in the north fignifies, fine, delicate as a kony thing, a fine thing. It is plain therefore, we fhould read, my-incony JEWEL. WARBURTON, Cony, has the fignification here given it, but in-cony I never heard nor read elsewhere. I know not whether it be right, however specious, to change Few to jewel. Few, in our authour's time, was, for whatever reason, apparently a word of endearment. So in Midfummer night's Dream, Meft tender Juvenile, and the most lovely Jew. (1) No, I'll give you a remuneration: Why? It carries its remuneration. Why? It is a fairer name than a French crown.] Thus this paffage has hitherto been writ, and pointed, without any regard to common fenfe, or meaning. The reform, that I have made, flight as it is, makes it both intelligible and humourous. THEOBALD. Biron. ing Biron. Why, villain, thou must know first. Coft. I will come to your worship to-morrow morn Biron. It must be done this afternoon. Hark, flave, it is but this: The Princefs comes to hunt here in the park : When tongues fpeak fweetly, then they name her name, And to her fweet hand fee thou do conmend This feal'd-up counfel. There's thy guerdon; go. [gives him a fbilling. Coft. Guerdon,-O fweet guerdon ! better than remuneration, eleven pence farthing better: most sweet guerdon! I will do it, Sir, in print. Guerdon, remuneration. Biron. O! and I, forfooth, in love! [Exit. Regent (2) This Signior Junio's giant-dwarf, Dan Cupid,] It was fome time ago ingeniously hinted to me, (and I readily came into the Opinion; that as there was a contrast of Terms in giant-dwarf, so, probably, there fhould be in the Word immediately preceding them; and therefore that we should restore, This Senior-Junior, giant-dwarf, Dan Cupid. i. e. this old young Man. And there is, indeed, afterwards in this play, a Defcription of Cupid, which forts very aptly with fuch an Emendation. That was the way to make his Godhead wax, The Conjecture is exquifitely well imagined, and ought by all means to be embrac❜d, unless there is reafon to think, that in the former Reading, there is an Allufion to fome Tale, or Character in an old Play. I have not, on this Account, ventured to disturb the Text, because there seems to me fome reafon to fufpc&t, that our Author is here alluding to Beaumont and Fletcher's Bonduca. In that Tragedy there is the Character of one Junius, a Roman Captain, who falls Regent of love-rhimes, lord of folded arms, * Of trotting paritors: (O my little heart!) And wear his colours! like a tumbler's hoop! in Love to Distraction with one of Bonduca's Daughters; and becomes an arrant whining Slave to this Paffion. He is afterwards cured of his infirmity, and is as abfolute a Tyrant against the Sex. Now, with regard to these two extremes, Cupid might very probably be ftiled Junius's giant-dwarf: a Giant in his Eye, while the Dotage was upon him; but shrunk into a Dwarf, so soon as he had got the better of it. THEOBALD Mr. Upton has made a very ingenious conjecture on this passage. He reads, This Sgnior Julio's Giant-dwarf Shakespeare, fays he, intended to compliment Julio Romano, who drew Cupid in the cha racter of a Giant dwarf. Dr. Warburton thinks, that by Janio is meant youth in general. * An appariter, or paritor, is the officer of the bifhop's court who carries out citations: as citations are most frequently iffued for fornication, the paritor is put under Cupid's government. (3) In former Editions,, And I to be a Corporal of bis Field, And wear his Colours like a Tumbler's hoop ! A Corporal of a Field is quite a new Term; neither did the Tumblers ever adorn their Hoops with Ribbands, that I can learn for Those were not carried in Parade about with them, as the Fencer carries his Sword: Nor, if they were, is the Similitude at all pertinent to the Cafe in hand. I read, like a tumbler stoop. Toftcop like a Tumbler agrees not only with that Profeffion, and the fervile Condefcenfions of a Lover, but with what follows in the Context The wife Tranfcribers, when once the Tumbler appear'd, thought his Hoop must not be far behind. WARBURTON. The conceit seems to be very forced and remote, however it be underflood. The notion is not that the hoop wears colours, but that the colours are worn as a tumbler carries his boop, hanging on one fhoulder and falling under the opposite arm. A whitely A whitely wanton with a velvet brow, It is a plague, 'That Cupid will impofe for my neglect Of his almighty, dreadful, little, Might. Well, I will love, write, figh, pray, fue and groan: Some men must love my lady, and fome Joan. [Exit*. A CT IV. SCENE I A Pavilion in the Park near the Palace. Enter the Prince/s, Rofaline, Maria, Catharine, Lords, Attendants, and a Forefter. W PRINCESS. VAS that the King, that fpurr'd his horfe fo hard Boyet. I know not; but, I think, it was not he. -Then, Forefter, my friend, where is the bush, For. Here by, upon the edge of yonder coppice; For. Pardon me, madam: for I meant not fo. no? O fhort-liv'd pride! not fair? alack, for wo! * To this line Mr. Theobald extends his fecond act, not injudiciously, but, as was before obferved, without fufficient authority. Prin. Nay, never paint me now; Where fair is not, praife cannot mend the brow. A giving hand, though foul, fhall have fair praise. Glory grows guilty of detefted crimes When for fame's fake, for praife, an outward part (5), We bend to that the working of the heart. As I for praise alone now feek to spill 'The poor deer's blood, that my heart means no ill (6). Boyet. Do not curft wives hold that felf-fovereignty Only for praise fake, when they strive to be Lords o'er their Lords? Prin. Only for praife; and praise we may afford To any lady that fubdues her lord. (4) Here-good my glass] To understand how the princess has her glafs fo ready at hand in a cafual converfation, it must be remembered that in those days it was the fashion among the French ladies to wear a looking glafs, as Mr. Bayle coarfely reprefents it, on their bellies; that is, to have a small mirrour fet in gold hanging at the girdle, by which they occafionally viewed their faces, or adjusted their hair. (5) When for fame's fake, for praife, an outward part, We bend to that the working of the heart.] The harmony of the measure, the eafinefs of the expreffion, and the good fenfe in the thought, all concur to recommend thefe two lines to the reader's notice. (6) THAT my heart means no ill.] We my beart WARBURTON. fhould read, THO' WARBURTON? That my heart means no ill, is the fame with to whom my heart means no ill the common phrafe fuppreffes the particle, as I mean bim [not to him] no harm. VOL. II. Enter |