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some as the longest voyage, as a voyage of discovery on the South-sea. · How much voyages to the Southa sea, on which the English had then first venturcd, engaged the conversation of that time, may be easily imagined
JOHNSON. Of for off is frequent in the elder writers. A South sea of discovery is a discovery a South-sea off-as far as the South-sea.
FARMÉR Warburton's sophistication ought to have been reprobated, and the old, which is the only reading that can preserve the sense of Rosalind, restored. A South-sea of discovery, is not a discovery, as FAR OFF, but as COMPREHENSIVE as the South-sea; which, being the largest in the world, affords the widest scope for exercising curiosity.
Henley. 243. -Garagantua's mouth] Rosalind requires nine questions to be answered in one word. Celia tells her that a word of such magnitude is too big for any mouth but that of Garagantua the giant of Rabelais.
JOHNSON. Garagantua swallowed five pilgrims, their staves and all, in a sallad. It appears from the books of the Stationers-Company, that in 1592 was published, “ Garagantua his Prophecie.” And in 1594, “ A booke entitled, The History of Garagantua.” The book of Garagantua is likewise mentioned in Laneham's Narrative of Q, Elizabeth's Entertainment at KenelworthCastle, in 1575.
STÉEVENS. 250. It is as easy to count atomies] Atomies are those
minute particles discernible in a stream of sunshinë that breaks into a darkened room.
Henley. 262. Cry holla to thy tôngue.] Holla was a térm of the manège, by which the rider restrained and stoppid his horse. So, in our author's Denus and Adonis, 1593 :
" What recketh he his rider's angry stir,
“ His flattering holla, or his stand I say ? The word is again used in Othello, in the same sense as here : ** Holla! stand there."
MALOne. 264. my heart.] A quibble between heart and hart.
Sreevens. 291. but I answer you right painted cluth,] This alludes to the fashion in old tapestry hangings, of mottos and moral sentences from the mouths of the figures worked or printed in them. The poet again hints at this custom in his poem, called, Tarquin and Lucrécé :
" Who fears a sentence, or an old man's saw,
THEOBALD. The same allusion is common to many of our old plays. So, in a Match at Midnight, 1633 :
“ There's a witty posy for you.
“Why then 'twill smell of the painted cloth." Again, in the Muse's Looking-Glass, by Randolph, 1638:
“ Then for the painting, I bethink myself
From this last quotation we may suppose that the rooms in publick-houses were usually hung with what Falstaff calls water-work. On these hangings, perhaps, moral sentences were depicted as issuing from the mouths of the different characters represented.
Again, in Sir Thomas More's English Works, printed by Rastell, 1557 : “ Mayster Thomas More in hys youth devysed in hys father's house in London, a goodly hangyng of fyne paynted clothe, with nine pageauntes, and verses over every of those page. auntes; which verses expressed and declared what the ymages in those pageauntes represented: and also in those pageauntes were paynted the thynges that the verses over them dyd (in effecte) declare."
Of the present phraseology there is an instance in King John : “He speaks plain cannon fire, and bounce, and smoke.”
STEEVENS. This singular phrase may likewise be justified by another of the same kind in K. Henry V:
“ I speak to thee plain soldier.” Again, in Twelfth Night:
“ He speaks nothing but madman." There is no need of Sir T. Hanmer's alteration : “ I answer you right in the style of painted cloth.” We had before in this play: “ It is the right butterwoman's rate at market."
MALONE. Sir T. Hanmer reads, I answer you right, in the style of the painted cloth. Something seems wanting, and I know not what can be proposed better. I answer
you right painted cloth, may mean, I give you a true painted cloth answer; as we say, she talks right Bil. lingsgate : that is, exactly such language as is used at Billingsgate.
JOHNSON. 356. -remov'd] i. e. lonely.
359. -in-land man;] Is used in this play for one civilized, in opposition to the rustick of the priest. So, Orlando before-Yet am I in-land bred, and know
JOHNSON. See catch-word Alphabet. 385. a blue eye,] i. e. a blueness about the
Steevens. 386. - an unquestionable spirit.] That is, unwilling to be conversed with.
CHAMIER. See Unquestionable, catch-word Alphabet.
390. Then your hose should be úngarter'd, &c.] These seem to have been the established and characteristical marks by which the votaries of love were denoted in the time of Shakspere. So, in the Fair Maid of the Exchange, by Heywood, 1637: “ Shall I, that have jested at love's sighs, now raise whirlwinds! Shall I, that have fouted ah me's once a quarter, now practise ak me's every minute ? Shall I defy hat-bands, and tread garters and shoe-strings under my feet? Shall I fall to falling bands, and be a ruffian no longer? I must; I am now liegeman to Cupid, and have read all these informations in the book of his statutes.” Again, in A pleasant Comedy how to chuse a good Wife from a bad, 1608:
I was once like thee “ A sigher, melancholy humorist, “ Crosser of arms, a goer without garters, “ A hat-band hater, and a busk-point wearer."
MALONE. -point device] i. e. exact, drest with finical nicety. See catch-word Alphabet. STEEVENS.
Point devise is a term in heraldry.
429. to a living humour of madness;] The sense requires us to read loving for living.
448. Doth my simple feature content you ?] says the Clown to Audrey. “ Your features, replies the wench. Lord warrant us, what features?" I doubt not, this should be your feature ! Lord warrant us, what's feature?
FARMER. Feat and feature, perhaps had anciently the same meaning. The Clown asks, if the features of his face content her, she takes the word in another sense, i.e. feats, deeds, and in her reply seems to mean, what feats, i. e. what have you done yet? The courtship of Audrey and her gallant had not proceeded further, as Sir William Witwood says, than a little mouthglew; but she supposes him to be talking of something which as yet he had not performed. STEEVENS.
458. -it strikes a man more dead than a great reckoning in a little room ;] Nothing was ever wrote in higher humour than this simile. A great reckoning, in a little room, implies that the entertainment was mean, and the bill extravagant.
WARBURTON 464. —and what they swear in poetry, &c.] This