for mutually dependent is illustrated
by the "well-tuned sounds I5y unions
married " of Sonnets, viii. ; but several
has the authority of all texts except Q.
84. content} Perhaps with a play (in
contents of a volume, though else-
where in Shakespeare only the plural
contents is used for what is contained.
85. obscured} Allen suggests obscure.
86. viargenf} Obscurities were often
explained in old books in the margin.
Compare Hamlet, \. ii. 162. Malone
quotes a close parallel : Lucrece, 99-
" But she, that never coped with
Could pick no meaning from their
Nor read the subtle-shining sec-
Writ in the glassy margents of
So Dekker, Honest Whore (Pearson's
Pekker, ii. p. 136) : "I read Strange
comments in those margines of your
87. unbound} unattached (ofa lover) ;
without binding (ofa book).
90. fair within'] F, faire, within
88. cover] Mason suggests a play
onfenime couverte, a married woman.
That which binds a lover is a wife,
and as the lover here is an unbound
book, a wife corresponds to the binding
or cover of the book. The present
passage is the earliest cited in New
Eng. Diet, for cover of a book.
89. The fish] Farmer supposed there
was an allusion here to fish-skin used
for binding books, a far-fetched notion.
Lady Capulet, I think, interrupts her
metaphor of a book to say Lovers are
at large, like fishes in the sea, but ready
to be hooked. For the metaphor of
lover as a fish, see Chorus preceding
Act n. 8, Much Ado, II. iii. 114,
and in. i. 26-29, Ant. and Cleop.
n. v. 10-15. This parenthetical
metaphor occurs after the description
of Paris ; then the main metaphor pro-
ceeds, in a second part, with Juliet
(the book-cover) for its theme. Mason
proposes shell for sea, the purport
of what follows being, he thinks,
to show the advantage of having a
handsome person to cover a virtuous
30 HOMEO AND JULIET [ACTI.
That in gold clasps locks in the golden story :
So shall you share all that he doth possess,
By having him making yourself no less.
Nurse. No less! nay, bigger: women grow by men. 95
Lady Cap. Speak briefly, can you like of Paris'
JuL I '11 look to like, if looking liking move ;
But no more deep will I endart mine eye
Than your consent gives strength to make it fly.
Enter a Servant.
Serv. Madam, the guests are come, supper served 100
up, you called, my young lady asked for, the
nurse cursed in the pantry, and every thing in
extremity. I must hence to wait ; I beseech
you, follow straight.
Lady Cap. We follow thee. \Exit ServJ\ Juliet, 105
the County stays.
Nurse. Go, girl, seek happy nights to happy days.
95. bigger: women] F, bigger women Q. 99. it] omitted Q, F, Q 3 ;
present in the rest.
92. clasps] Paris's bride is still the to lovers handfasted by "tiak golden
binding; there is a play on clasps; claspe of the spirite."
the golden clasps (embraces) of a bride 98. endart] Pope, from Q I, reads
shutting in the golden story of love, ingage, which meant entangle.
In Othello, I. i. 127, we have "the 106. County'} Count, probably an
gross clasps of a lascivious Moor." adoption of Italian conte with retention
T. Bright, Treatise of Melancholy, of the final syllable. So All's Well,
1586, p. 36, compares soul and body ill. vii. 22, "a ring the county wears.''
sc. iv.] HOMEO AND JULIET 31
SCENE IV. The Same. A Street.
Enter ROMEO, MERCUTIO, BENVOLIO, with five or six
other Maskers, Torch-bearers, and Others.
Rom. What, shall this speech be spoke for our excuse,
Or shall we on without apology ?
Ben. The date is out of such prolixity :
\Ve '11 have no Cupid hoodwink'd with a scarf,
Bearing a Tartar's painted bow of lath, 5
Scaring the ladies like a crow-keeper;
Nor no without-book prologue, faintly spoke
After the prompter, for our entrance :
But, let them measure us by what they will,
We '11 measure them a measure, and be gone. I o
7, 8. Nor . . . entrance] Q i ; omitted Q, F.
I. this speech] Furness suggests the tinguish it from the English bow,
speech. Capell conjectures that Ben- whose shape is the segment of a
volio and Mercutio are the speakers, circle."
assigning conjectural!}- I, 2 to Ben., 6. crow-keeper] a boy employed to
3-10 to Mer., and 13 to Ben. scare crows; also a scare-crow. So
3. prolixity] Benvolio says that the Lear, iv. vi. 88: "That fellow
apology of masquerade rs for their handles his bow like a crow-keeper.''
entrance is out of date. Moth's apolo- Steevcns quotes Drayton, Idea, 48 :
getic or explanatory speech, intro- " And when corn 's sown, or grown
ducing the maskers in Lore's Labour s into the ear,
Lost, v. ii. 158, is an example. See Practise thy quiver like a erow-
also Cupid's speech in Titnon, I. ii. keeper.'"
128, and the Chamberlain's speech in 7, S.] White conjectures that these
Henry VIII. \. iv. 65. "In Histrio- lines, found only in Q I, were omitted
mastix a man wonders that the on account of their disparagement of
maskers come in so blunt, without prologue speakers on the stage.
device" (Steevens). 8. entrance'} a trisyllable here, as
4. hoodwink'd . . . scarf] So in Macbeth, I. v. 40. Hanmer in
"hood-winked in this scarf," Jonson, place of for read 'fore.
Silent Woman, iv. ii. 10. a measure] a grave and dignified
5. bow] Douce: "The Tartarian dance. Compare Much Ado, n. i.
bows . . . resembled in their form So: " the wedding mannerly-modest,
the old Roman or Cupid's bow, such as a measure full of state and an-
as we see on medals and bas-reliefs, cientry." The play on the word
Shakespeare uses the epithet to dis- occurs in Richard II. in. iv. 7.
32 ROMEO AND JULIET [ACTI.
Rom, Give me a torch : I am not for this ambling ;
Being but heavy, I will bear the light.
Mer. Nay, gentle Romeo, we must have you dance.
Rom. Not I, believe me : you have dancing shoes
With nimble soles ; I have a soul of lead i 5
So stakes me to the ground I cannot move.
Mer. You are a lover ; borrow Cupid's wings,
And soar with them above a common bound.
Rom. I am too sore enpierced with his shaft
To soar with his light feathers; and so bound, 20
I cannot bound a pitch above dull woe :
Under love's heavy burden do I sink.
Mer. And, to sink in it, should you burden love ;
Too great oppression for a tender thing.
Rom. Is love a tender thing? it is too rough, 25
Too rude, too boisterous ; and it pricks like thorn.
Mer. If love be rough with you, be rough with love ;
Prick love for pricking, and you beat love down.
Give me a case to put my visage in :
20. so bound,} Q, to bound : Y. 23. Mer.] Qq 4, 5 ; Horatio Q ; Hora. F.
II. torch] Masquers and masquer- Shakespeare by quoting Milton, Par.
aders were accompanied by their Lost, iv. 181 : "At one slight bound
torch-bearers. Westward Hoe (Pear- high over-leap'd all bound."
son's Dekker, ii. p. 292): "He is 23. burden love] Compare II. v. 79,
just like a torch-bearer to maskers, and line 94 of the present scene,
he wears good cloathes, and is rankt 29. visage in :] Theobald read in ?
in good company, but he doth and added the stage direction "Put-
nothing." ting offhis mask." Johnson, also read-
15. soul\ The play on the word was ing in ?, added " Putting on his mask. "
irresistible. Compare Julius dcsar, Capell, rightly, I think, reading in.,
I. i. 15. added "taking one from an Alt., "and,
19. enpierced} A variation in spell- rightly, after visor! line 30, added
ing of empierced, or impierccd, to "throwing it away." Mercutio, an
which the word was altered in the invited guest, goes, I think, unmasked,
later Ff. New Eng. Diet, gives no Perhaps, as Professor Littledale sug-
example of enpierced except that of gests, we should read "visage in!"
the text. Mercutio at once rejecting the
21. bound} Steevens apologises for mask.
ROMEO AND JULIET
A visor for a visor! what care I 30
What curious eye doth quote deformities ?
Here are the beetle-brows shall blush for me.
Ben. Come, knock and enter ; and no sooner in
But every man betake him to his legs.
Row. A torch for me: let wantons, light of heart, 35
Tickle the senseless rushes with their heels ;
For I am proverb'd with a grandsire phrase ;
I '11 be a candle-holder, and look on.
The game was ne'er so fair, and I am done.
Mcr. Tut, dun 's the mouse, the constable's own
word : 40
39. done] O I, F ; ditm Q ; dun Qq 3-5. 40. own] Q, F ; old Q I.
30. A visor for a visor!] My face,
fantastic as a mask, needs no visor.
Compare Rosaline to Herowne, J.ove s
Labour* s Lost, v.ii. 387: "That vizard;
that superfluous case That hid the
worse and show'd the better face."
31. quote] observe, as in Hamlet, II.
32. beetle-bro"vs\ overhanging brows;
apparently not eye-brows, for eye-brows
could not blush. New Eng. Diet.
says that brows in Middle English
always means eye-brows ; beetle-browed
is as old as Langland, Piers Plough-
man, 1362. The origin favoured by
New ng. Diet, is a comparison
with the tufted antennaj of certain
kinds of beetles. Shakespeare seems
to have invented the verb beetle used
in Hamlet, I. iv. 71 : "The cliff that
beetles o'er his base," that is, a cliff
like an overhanging forehead. Cot-
grave, however (1611), has "Beetle-
browed, soureilleux, '' and he explains
sourdlleujc as ' ' having very great
35, 36.] Steevens notes Middleton's
echo of these lines in Blurt Master-
Constable, 1602 :
" bid him, whose heart no sorrow
Tickle the rushes with his wanton
I have too much lead at mine.''
36. rushes] Steevens notes that not
only were rooms strewn with rushes,
but the stage was also so strewn.
1 )ekker's Gu/'s Hornbook, 1609: "On
the very rushes when the comedy is
37. grandsire phrase] Ray gives a
proverb, "A good candle-holder'pYQVzs
a good gamester." Ritson (see line
39) refers to the proverbial saying
which advises to give over when the
game is at the fairest. / am done in
line 39 seems to mean I give over the
40. (///;/ 's the mouse'] This phrase
occurs in several Elizabethan dramas,
sometimes with quibbles on done.
M alone took it to mean Pcaee ; be still !
and hence he supposed it is the con-
stable's word. He cites Patten:
Crissel (i6o3\ "don is the mouse, lie
still. " Mascal in Government of Cattle.
(1620) has " mouse - dun coloured
ROMEO AND JULIET
If thou art Dun, we'll draw thee from the mire,
Or, save your reverence, love, wherein thou stick'st
Up to the ears. Come, we burn daylight, ho !
ROJII. Nay, that 's not so.
Mer. I mean, sir, in delay
We waste our lights in vain, light lights by
Take our good meaning, for our judgment sits
Five times in that ere once in our five wits.
Rom. And we mean well in going to this mask ;
But 'tis no wit to go.
Mer. Why, may one ask ?
41. mire] O, i/iire. F. 42. Or . . . love] F 4, Or save yon reverence
love Qq, Or save your reverence love Ff 1-3, Of this surreverence love Q I.
44. sir, in delay} sir in delay Q ; sir in delay, Qq 4, 5 ; sir I delay, F. 45.
IVe . . . day} Nicholson, IVe burne our lights by night, like lampes by day
Q I, IVe waste our lights in vaine, lights lights by day Qq, and (with commas)
lights, lig/ifs, Ff. 47. Jive] Malone (Wilbraham conj.); fine Q, F.
41. Dun} Here Dun is a dun horse.
Dun is in the mire, spoken of by
Chaucer, Canterbury Tales, Manciple s
Prologue, and still played by William
Giffbrd when a boy, is an old Christ-
mas game, in which a heavy log (the
horse Dun) is brought into the room,
is supposed to stick in the mire, and is
extricated by the players. References
are not infrequent in Elizabethan plays.
42. Or, save your reverence, love]
Many editors prefer, from Q i, Of
this sir-reverence love, where sir-
revcrcme is used, as indicated in
Comedy of Errors, III. ii. 93, in the
same apologetic way as save your
reverence. I see no good reason for
departing from F.
43. burn daylight} burn candles by
day, also waste or consume the day-
light. Compare j\lcrry IVives, II. i.
S4- See The Spanish Tragedy in
Hazlitt's Dodsley's Old Plays, v. p.
1 15 (and note).
45. II 'e . . . dar} Thi^ reading.
proposed by Nicholson, is printed by
Daniel ; it only rejects one letter, s,
from Q, F. Johnson reads like lights
by day. Capell's reading, IVe waste
our lights in vain, like lamps by day,
is commonly accepted, but it seems
undesirable to make up a new line
from halves of O, F and Q I.
46. sits} Rowe and others readmits ;
Collier (MS.) ///A.
47. five wits} In Sonnets, cxli. 9,
Shakespeare speaks of the five wits as
different from the live senses ; it is
certain, however, that five wits was
used for five sense.-. In Stephen
Hawes' poem Graunde Amour and La
Belle PuceUc, xxiv. (ed. 1554), the
five wits are common wit, imagina-
tion, fantasy, estimation [judgment],
and memory (Dvcc). Malone cites,
from the <>ld copies of Shakespeare's
plays, other examples of the erratum
fine for five, and '.'ice versa. Q i has
Three limes a day, ere once in her
sc. iv.] ROMEO AND JULIET
Rom. I dreamt a dream to-night.
Mer. And so did I. 50
Rom. Well, what was yours ?
Mcr. That dreamers often lie.
Rom. In bed asleep, while they do dream things
Mer. O, then I see Queen Mab hath been with you.
She is the fairies' midwife, and she comes
In shape no bigger than an agate-stone 55
On the forefinger of an alderman,
Drawn with a team of little atomies
Athwart men's noses as they lie asleep :
54-91. She . . . bodes;] verse Q I, Pope; prose Q, F. 55. an] Q,
omitted F, in Daniel conjee. 58. Athwart'} Q I ; o~cer Q, F.
50. to-night] last night, as fre-
quently in Shakespeare. See
53. 0, . . . you} After this line
Q I has " Ben. Queene Mab whats
she ? " a speech probably meant as a
pretext for Mercutio's long descrip-
tion ; but Q I continues to Benvolio
the speech of Mercutio.
53. Queen Mab"} Thorn ( ' 'Three Note-
lets on Sh.") states that no earlier men-
tion of Mab than the above is known ;
that no doubt Shakespeare got the name
from folk-lore of his own time ; that
Mab in Welsh means an infant ; and
that Beaufort, in his Ancient Topo-
graphy of Ireland, mentions Mabh
as the chief of the Irish fairies.
Drayton, with Shakespeare's descrip-
tion before him, writes, in his
happiest manner, of Queen Mab in
Nymphidia the Court of Fayric.
Attempts have been made to identify
Queen Mab with Dame Abunde or
Habunde ; and again with the Irish
Queen Maeve. Sir H. Ellis says that
in Warwickshire "Mab-led" (pro-
nounced Mob-led) signifies led astray
by a Will-o'-the- Wisp (Brand, Popular
Antiquities, iii. p. 218, ed. 1841).
54. fairies' midwife} Warburton
conjectured and Theobald read
Fancy's midwife. Warton conjec-
tured fairy midwife. Steevens ex-
plains : the person among the fairies
who delivers the fancies of dreamers,
the " children of an idle brain '" (line
97). T. Warton suggests that Mab
is a midwife because she steals infants
(leaving changelings) for the fairies.
55. shape"} Nicholson suggests slate,
meaning dignity, pomp. See line 70.
55. agate-stone} That is, the diminu-
tive figures cut in agate and set in
rings. So 2 Henry IV. \. ii. 19.
(Falstaff of his little Page) : " I was
never manned \\ith an agate til! now.''
Glapthorne, in Wit is a Constable,
1639, speaks of an alderman's thumb-
ring. Q I reads, for alderman,
57. atomies'} tiny beings, pigmies.
A'tTi' Eng. Diet, quotes P. Wood-
house, Flea, 1605, " If with this atomye
I should contend." Q I has Aitomi,
Q 2 ottamie, the rest as in the text.
36 ROMEO AND JULIET [ACT i.
Her waggon-spokes made of long spinners' legs ;
The cover, of the wings of grasshoppers ; 60
Her traces, of the smallest spider's web ;
Her collars, of the moonshine's watery beams ;
Her whip, of cricket's bone ; the lash, of film ;
Her waggoner, a small grey-coated gnat,
Not half so big as a round little worm 65
Prick'd from the lazy finger of a maid :
Her chariot is an empty hazel-nut,
Made by the joiner squirrel or old grub,
Time out o' mind the fairies' coach-makers.
And in this state she gallops night by night 70
Through lovers' brains, and then they dream of love ;
O'er courtiers' knees, that dream on court'sies
O'er lawyers' fingers, who straight dream on fees ;
O'er ladies' lips, who straight on kisses dream,
Which oft the angry Mab with blisters plagues, 75
Because their breaths with sweetmeats tainted are :
59. made, of long] Q, ]' ; arc made of O I. 61. Her'] O, F; The O i ;
spiders} F, spider Q. 62. Her} Q, F; The Q I. 66. Prick'd] Q, F;
Pickt O i ; vi aid} O I ; man Q, F ; woman Ff 2-4. 72. O'er] Q I (O're) ;
On Q, F. 73. dream] Q, dreamt F. 76. breaths'} Rowe ; breathes Q I ;
breath O, F.
59. spinners^ spiders'. Latimcr (in 67. He;' chariot} Daniel places lines
Fox's Acts and Monuments) : ''Where 67-69 after line 58, as suggested by
the bee gathercth honey, even there Lettsom ; the description of the
the spinner gathereth venome. " chariot preceding that of its part-.
65. worm] Halliwell (Diet.) quotes These lines, not found in Q I, may
Beaumont and Fletcher, Woman- have been added Lettsom thinks
Hater in. i. : " Keep thy hands in in the margin of the "copy" of Q 2,
thy muff, and warm the idle worms in and have been misplaced by the
thy fingers' ends." Worms were said printer. Drayton, in Nymphidia,
to breed in idle fingers. Banister in describes Mab's chariot, with evident
his Compendious Chirurgiric (1585) reminiscences of this speech,
describes women "sitting in the sun" 76. sweetmeats} M alone : "kissing
pricking what "we commonly call comfits," mentioned in Merry Wives,
wormes" from their fingers. v. v. 22.
sc. iv.] ROMEO AND JULIET 37
Sometime she gallops o'er a courtier's nose,
And then dreams he of smelling out a suit ;
And sometime comes she with a tithe-pig's tail
Tickling a parson's nose as a' lies asleep, 80
Then dreams he of another benefice ;
Sometime she driveth o'er a soldier's neck,
And then dreams he of cutting foreign throats,
Of breaches, ambuscadoes, Spanish blades,
Of healths five fathom deep ; and then anon 8 5
Drums in his ear, at which he starts and wakes,
And, being thus frighted, swears a prayer or t\vo,
And sleeps again. This is that very Mab
That plats the manes of horses in the night,
And bakes the elf-locks in foul sluttish hairs, 90
Which once untangled much misfortune bodes ;
This is the hag, when maids lie on their backs,
That presses them and learns them first to bear,
Making them women of good carriage ;
77- courtier's} The courtier has been fathom deep. The knight has drunk
already mentioned ; hence Pope read so much Iiealth to the gentleman
lawyer s from O i. but lawyers have yonder, etc."
also been mentioned. Seymour con- 89. flats the manes'} Douce tells of
jectured laivyers lip (Q i laf] ; a superstition that malignant spirits,
Collier (MS.) reads counsellor 's. In clothed in white, haunted stables and
the next line suit would be proper to dropped the wax of tapers on horses'
courtier a court request, or in a legal manes. lie refers in illustration to a
sense to a lawyer. The word suit print by Hans Burgkmair.
(of clothes) suggested taylors to 90. bakes the elf-locks} Pope and
Theobald. others read cakes ; Collier(MS. ) makes.
84. Spanish blades} toledoes. Q Klf-locks, hair matted by the elves.
I reads countermines. Compare Lear, II. iii. 10 : " elf all
85. health?} tickling his neck makes my hair in knots. ' ; O, F misprint:
him dream of drinking. Malone Elklocks.
quotes from ll'estivard Hoe, 1607 : 92. backs'] So Drayton, in Nym-
" My master and Sir Goslin are fht\lia, of Queen Mab.
guzzling ; they are dabbling together 94. -women of good carriage} So
38 ROMEO AND JULIET [ACT i.
This is she
Rom. Peace, peace, Mercutio, peace! 95
Thou talk'st of nothing.
Mer. True, I talk of dreams,
Which are the children of an idle brain,
Begot of nothing but vain fantasy,
Which is as thin of substance as the air,
And more inconstant than the wind, who wooes 100
Even now the frozen bosom of the north,
And, being anger'd, puffs away from thence,
Turning his face to the dew-dropping south.
Ben. This wind you talk of blows us from ourselves ;
Supper is done, and we shall come too late. 105
Rom. I fear, too early : for my mind misgives
Some consequence, yet hanging in the stars,
Shall bitterly begin his fearful date
W T ith this night's revels, and expire the term
Of a despised life closed in my breast I 10
By some vile forfeit of untimely death :
But Pie, that hath the steerage of my course,
Direct my sail ! On, lusty gentlemen.
Ben. Strike, drum. \Exennt.
HOISJ a man may choose a good "wife /^<r;v<6% 935 : " endless date of never-
from a bad; Hazlitt's Dodsley's Old ending woes."
Plays, ix. p. 37: " You have been 109. expire the term] cause the term
often tried To he a woman of good to expire, as in Lyly, Eitphnes (Arber,
carriage" spoken with an equi- p. 77): "To swill the drinke that
voque. will expyrc thy date.''
103. face} The side of Q. F may be 113. sa/7] If stile Q, F is not a
right, used, as elsewhere in Shake- misprint, it may be explained as
speare, of bed - fellows, and thus courtship ; the emendation fate has
carrying on the metaphor of wooing been proposed.
the bosom. 114. Exeunt] The stage-direction
108, dalc\ season, period ; as in F seems to show that the action
UOMEO AND .JULIET
SCENIC V. The Same. A Hall in CapulcCs House.
Musicians waiting'. Enter Seruingmen ivitli napkins.
First Scrv. Where 's Potpan, that he helps not to
takeaway? He shift a trencher! he scrape
a trencher !
Second Scri 1 . When good manners shall lie all in
one or two men's hands, and they unwashed 5
too, 'tis a foul thing.
First Scrv. Away with the joint-stools, remove the
court-cupboard, look to the plate. Good
thou, save me a piece of marchpane ; and,
as thou lovest me, let the porter let in i o
Susan Grindstone and Nell. Antony ! and
Third Serv. Ay, boy, ready.
First Serv. You are looked for and called for,
proceeded without interruption :
"They march about the Stage,
and Servingmen come forth with
their napkins." So Qq, omitting
their and adding Enter Romeo.
\. First Serv.] I distribute the
speeches as I think is intended in Q.
I suppose Third Serv. to be the
much needed I'otpan and Fourth
Serv. to he Antony. F perhaps
economised actors by reducing the
speakers to three. Dyce effected
the reduction to two, and reads in
11,12 Antony Polfan '.
2. shift a trencher'.} I'otpan is too
proud for such work.
7. joint-stooli\ a stool made with
jointed parts. The three-legged
stool is so named in Cowper's The
Task (opening of 15. i. ).
8. fourt-citp!>oard\ a sideboard or
cabinet, used to display plate. So
Chapman, Mans. D'Olire.: "Here
shall stand my court cupboard \\illi
its furniture of plate/'
9. marchpane\ a kind of almond
cake. See Xares' Glossary for a.
receipt (l6oS), and for many ex-
amples of the word.
13. Third Serv.] I suppose that
Third and Fourth Servants (Antony
and Potpan ?) enter here.
40 ROMEO AND JULIET [ACTI.
asked for and sought for, in the great 1 5
Fourth Serv. We cannot be here and there too.
Cheerly, boys ; be brisk awhile, and the
longer liver take all. [T/iey retire behind.
Enter CAPULET, with JULIET and others of his house,
meeting the Guests and Maskers.
Cap. Welcome, gentlemen! ladies that have their toes 20
Unplagued with corns will have a bout with you :
Ah ha, my mistresses ! which of you all
Will now deny to dance ? she that makes
She, I '11 swear, hath corns ; am I come near ye
Welcome, gentlemen ! I have seen the da}'- 2 5
That I have worn a visor, and could tell
A whispering tale in a fair lady's ear,
Such as would please ; 'tis gone, 'tis gone, 'tis
19. Enter . . . ] Enter all the guests and gentlewomen to the Maskers
Q, F. 21. have a bout} Capell ; have about ( i ; walke about Q, F; walk
a bout Daniel. 22. Ah ha, my} Q I ; Ah my Q, F.
19. longer live)-} Proverbial : so ing, as Daniel thinks, occurs in Much
Dekker, Honest Whore, Part II.: Ado, n. i. 89; but we cannot be
" If I have meat to my mouth, and sure that walk about in J\Iuch Ado
rags to my back. . . . when I die, refers to the dance.
the longer liver take all" (Pearson's 23. makes dainty'} is chary (of
Dekker, ii. p. 115). (lancing). New Eng. Did. quotes
20. gentlemen} For gentlemen as a Preston, New Cov. (1628): "make