Did stumble with haste in his eye-sight to be; 3
All senses to that sense did make their repair,
To feel only looking on fairest of fair :

Methought, all his senses were lock'd in his eye,
As jewels in crystal for some prince to buy;

Who, tend'ring their own worth, from where they were glass'd,

Did point you to buy them, along as you pass'd.
His face's own margent did quote such amazes,
That all eyes saw his eyes enchanted with gazes:
I'll give you Aquitain, and all that is his,

An you give him for my sake but one loving kiss.
Prin. Come, to our pavilion: Boyet is dispos'd-
Boyet. But to speak that in words, which his eye hath
disclos'd:

I only have made a mouth of his eye,

By adding a tongue which I know will not lie.

Ros. Thou art an old love-monger, and speak'st skil

fully.

Mar. He is Cupid's grandfather, and learns news of

him.

Ros. Then was Venus like her mother; for her father is but grim.

Boyet. Do you hear, my mad wenches?

Mar. No.

Boyet. What then, do you see?
Ros. Ay, our way to be gone.

Boyet. You are too hard for me.

[Exeunt.

ACT III.

SCENE I. Another part of the same. Enter ARMADO and MoTH.

Armado.

WARBLE, child make passionate my sense of

hearing.

Moth. Concolinel-8

[Singing.

[3] Although the expression in the text is extremely odd, I take the sense of it to be that his tongue envied the quickness of his eyes, and strove to be as rapid in its utterance, as they in their perception -Edin. Mag. STEEV. [4] Here is apparently a song lost. JOHNSON.

I have observed in the old comedies, that the songs are frequently omitted. On this occasion the stage direction is generally-Here they sing-or, Cantant. Probably the performer was left to choose his own ditty, and therefore it could not with propriety be exhibited as a part of a new perform

ance.

STEEV.

Arm. Sweet air!-Go, tenderness of years; take this key, give enlargement to the swain, bring him festinately hither;5 I must employ him in a letter to my love. Moth. Master, will you win your love with a French brawl?6

Arm. How mean'st thou ? brawling in French?

Moth. No, my complete master: but to jig off a tune at the tongue's end, canary to it with your feet, humour it with turning up your eye-lids; sigh a note, and sing a note; sometime through the throat, as if you swallowed love with singing love; sometime through the nose, as if you snuffed up love by smelling love; with your hat penthouse-like, o'er the shop of your eyes; with your arms crossed on your thin belly-doublet, like a rabbit on a spit; or your hands in your pocket, like a man after the old painting; and keep not too long in one tune, but a snip and away: These are complements, these are humours; these betray nice wenches-that would be betrayed without these; and make them men of note, (do you note, men?) that most are affected to these. Arm. How hast thou purchased this experience? Moth. By my penny of observation.

Arm. But O,-but O,

Moth. -the hobby-horse is forgot. 8

Arm Callest thou my love, hobby-horse?

Moth. No, master; the hobby-horse is but a colt, and your love, perhaps, a hackney. But have you forgot your love?

Arm. Almost I had.

Moth. Negligent student! learn her by heart.
Arm. By heart, and in heart, boy.

[5] i. e. hastily. STEEV.

A brawl is a kind of dance, and (as Mr. M. Mason observes,) seems to be what we now call a cotillon.

STEEV.

[7] It was a common trick among some of the most indolent of the ancient masters, to place the hands in the bosom or the pockets, or conceal them in some other part of the drapery, to avoid the labour of representing them, or to disguise their own want of skill to employ them with grace and propriety.

STEEV.

[8] In the celebration of May-day, besides the sports now used of hanging a pole with garlands, and dancing round it, formerly a boy was dressed up representing Maid Marian; another like a friar; and another rode on a hobbyhorse, with bells jingling, and painted streamers. After the reformation took place, and precisians multiplied, these latter rites were looked upon to favour of paganism; and then Maid Marian, the friar, and the poor hobbyhorse were turned out of the games. Some who were not so wisely precise, but regretted the disuse of the hobby-horse, no doubt, satirized this suspicion of idolatry, and archly wrote the epitaph above alluded to. THEOBALD.

Moth. And out of heart, master: all those three I will prove.

Arm. What wilt thou prove?

Moth. A man, if I live: and this by, in, and without, upon the instant: By heart you love her, because your heart cannot come by her: in heart you love her, because your heart is in love with her; and out of heart you love her, being out of heart that you cannot enjoy her. Arm. I am all these three.

Moth. And three times as much more, and yet nothing at all.

Arm. Fetch hither the swain; he must carry me a letter.

Moth. A message well sympathised; a horse to bę embassador for an ass!

Arm. Ha, ha! what sayest thou?

Moth. Marry, sir, you must send the ass upon the horse, for he is very slow-gaited: But I go. Arm. The way is but short; away.

Moth. As swift as lead, sir.

Arm. Thy meaning, pretty ingenious?

Is not lead a metal heavy, dull, and slow?

Moth. Minimè, honest master; or rather, master, no. Arm. I say, lead is slow.

Moth. You are too swift, sir, to say so:

Is that lead slow, which is fir'd from a gun?

Arm. Sweet smoke of rhetoric!

He reputes me a cannon; and the bullet, that's he :I shoot thee at the swain.

Moth. Thump then, and I flee.

[Exit. Arm. A most acute juvenal; voluble and free of grace! By thy favour, sweet welkin, I must sigh in thy face: Most rude melancholy, valour gives thee place. My herald is return'd.

Re-enter MOTH and COSTARD.

Moth. A wonder, master; here's a Costard broken in a shin. 1

Arm. Some enigma, some riddle: come,-thy l'envoy; -begin. 2

[9] Welkin is the sky, to which Armado, with the false dignity of a Spani ard, makes an apology for sighing in its face. JOHNSON. [1] i. e. a head. STEEV.

[2] The l'envoy is a term borrowed from the old French poetry. It appeared always at the head of a few concluding verses to each piece, which either served to convey the moral, or to address the poem to some particular person. It was frequently adopted by the ancient English writers. STEEV

Cost. No egma, no riddle, no l'envoy; no salve in the mail, sir:3 () sir, plantain, a plain plantain ; no l'envoy, no l'envoy, no salve, sir, but a plantain !

Arm. By virtue, thou enforcest laughter; thy silly thought, my spleen: the heaving of my lungs provokes me to ridiculous smiling: O, pardon me, my stars! Doth the inconsiderate take salve for l'envoy, and the word, l'envoy, for a salve?

Moth. Do the wise think them other? is not l'envoy a salve?

Arm. No, Page it is an epilogue or discourse, to make plain

Some obscure precedence that hath tofore been sain.
I will example it:

The fox, the ape, and the humble-bee,

Were still at odds, being but three.

There's the moral: Now the l'envoy.

Moth. I will add the l'envoy: Say the moral again. Arm. The fox, the ape, and the humble-bee,

Were still at odds, being but three, Moth. Until the goose came out of door,

And stay'd the odds by adding four.

Now will I begin your moral, and do you follow with my l'envoy.

The fox, the ape, and the humble-bee,

Were still at odds, being but three:

Arm. Until the goose came out of door,
Staying the odds by adding four.

Moth. A good l'envoy, ending in the goose;
Would you desire more?

Cost. The boy hath sold him a bargain; a goose, that's

flat :

Sir, your penny worth is good, an your goose be fat.— To sell a bargain well, is as cunning as fast and loose: Let me see a fat l'envoy; ay, that's a fat goose.

Arm. Come hither, come hither: How did this argument begin?

Moth. By saying, that a Costard was broken in a shin. Then call'd you for the l'envoy.

Cost. True, and I for a plantain; Thus came your argument in ;

Then the boy's fat l'envoy, the goose that you bought;

And he ended the market.

[3] Male or Mail, for a packet or bag, was a word then in use. STEE.

Arm. But tell me ; how was there a Costard broken in a shin ?4

Moth. I will tell you sensibly.

Cost. Thou hast no feeling of it, Moth; I will speak that l'envoy :

I, Costard, running out, that was safely within,
Fell over the threshold, and broke my shin.

Arm. We will talk no more of this matter.
Cost. Till there be more matter in the shin.
Arm. Sirrah Costard, I will enfranchise thee.
Cost. O, marry me to one Frances;-I smell some
t'envoy, some goose, in this.

Arm. By my sweet soul, I mean, setting thee at liberty, enfreedoming thy person; thou wert immured, restrained, captivated, bound.

Cost. True, true; and now you will be my purgation, and let me loose.

Arm. I give thee thy liberty, set thee from durance; and, in lieu thereof, impose on thee nothing but this: Bear this significant to the country-maid Jaquenetta: there is remuneration; [Giving him money.] for the best ward of mine honour, is, rewarding my dependents. Moth, follow.

[Exit.

Moth. Like the sequel, I.5-Signior Costard, adieu. Cost. My sweet ounce of man's flesh my in-cony Jew 6 [Exit Moth.]-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 inkle? a penny :-No, I'll give you a remuneration: why, it carries it.-Remuneration!— !-why, it is a fairer name than French crown. I will never buy and sell out of this word.

JOHNSON.

[4] Costard is the name of a species of apple. It has been already observed that the head was anciently called the costard. So in King Richard III: "Take him over the costard with the hilt of thy sword:" A costard likewise signified a crab-stick. STEEVENS.

[5] Sequele, in French, signifies a great man's train. The joke is, that a single page was all his train. THEOBALD.

Sequelle, by the French, is never employed but in a derogatory sense. They use it to express the gang of a highway-man, but not the train of a lord; the followers of a rebel, and not the attendaits on a general. STEEVENS. [6] Incony or kony in the north, signifies, fine, delicate-as a kony thing, a fine thing. WARB.

There is no such expression in the North as either kony or incony. The word canny, which the people there use, and from which Dr. Warburton's mistake may have arisen, bears a variety of significations. none of which is fine, delicate, or applicable to a thing or value. RITSON.