William Shakespeare.

A new variorum edition of Shakespeare online

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up from the line below quite as easily, if not more so, than the Mad- of Madam.
[As Dyce says, some epithet to ' man ' seems necessary, and madman does not of
necessity mean a maniac. — Ed.]



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264 LOUES LABOURS LOST [act v, sc. ii.

King. All haile fweet Madame, and faire time of day.

Qu. Faire in all Haile is foule,as I conceiue. 380

King. Conftrue my fpeeches better, if you may.

Qu. Then wifh me better, I wil giue you leaue.

King. We came to vifit you, and purpofe now
To leade you to our Court, vouchfafe it then.

Qu. This field fhal hold me, and fo hold your vow : 385

Nor God, nor I, delights in periurM men.

King. Rebuke me not for that which you prouoke :
The vertue of your eie muft breake my oth.

Q. You nickname vertue : vice you fhould haue fpoke :
For vertues office neuer breakes men troth. 390

Now by my maiden honor, yet as pure
As the vnfallied Lilly, I proteft,
A world of torments though I fhould endure,
I would not yeeld to be your houfes gueft :
So much I hate a breaking caufe to be 395

380. is] is is F 4 . 39a men] F B . mens QF 4 , Rowe,

381. Conftrue my fpeeches] Confture Pope, Theob. i, Han. Warb. mens 1
my fpaches Q. Theob. ii. men's F s et cet

383. came] tome Tope, + . 392. vnfallied] Q. uufuUied F 3 .

384. our] ou*F 4 . unsuUfd Rowe ii, + , Cap. Var. Ran.
386. nor I, delights] delights, nor 1, MaL unfullied F 3 F 4 , Steev. et seq.

Marshall conj. (subs. )

delights] QFf, Cap. Knt, Dyce, 394. not yeeld to] not to F y not F 4 .

Sta. Cam. Glo. delight Rowe et cet. 395. breaking caufe] breaking-cause

388. muft] makes Kan. modeVtaib. Steev. Var. '03, '13, Knt, Hal. Sing,

conj. Sta. Ktly.

380. all Haile] Walker, in a note (Crit. iii, 343) on 'Thou doughty duke, all
hail ! all hail, sweet ladies. Theseus. This is a cold beginning.' — Two Noble Kins-
men, III, v, remarks, ' I know not whether it is necessary to observe, that there is a
play on 'hail,' as in Love's Lob. L. V, ii, 380. Dekker, Olde Fortunotus, —
i Andelocia. Brother, all haile. Shadow, There's a rattling salutation.' — [p. 113,
ed. Pearson.]— LtTTLEDALE (note on Two Noble Kinsmen, III, v) adds another
example from Beau, and Fl.'s The Faithful Friends, III, ii, ' Sir Pergamus. All
hail ! Learchus. He begins to storm already.'— [p. 257, ed. Dyce.]

388. vertue . . . must breake] Johnson : I believe our author means that the
virtue, in which goodness and power are both comprised, must dissolve the obliga-
tion of the oath. The Princess, in her answer, takes the most invidious part of the
ambiguity.

389. spoke] Abbott (§ 200) says that ' speak' is here used for describe, which
must be, I think, an oversight on Abbott's part. It is used for said, owing, possi-
bly, to exigencies of the rhyme.

392. vnsallied] For reasons why this form should be discarded we must wait for
iheN.E.JD.



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ACT v, sc. ii.] LOUES LABOURS LOST 2 6$

Of heauenly oaths, vowM with integritie. 396

Kin. O you haue liu'd in defolation heere,
Vnfeene, vnuifrted, much to our fhame.

Qu. Not fo my Lord, it is not fo I fweare,
We haue had paftimes heere, and pleafant game, 400

A meffe of Ruffians left vs but of late.

Kin. How Madam? Rufsians ?

Qu. I in truth, my Lord.
Trim gallants, full of Courtfliip and of ftate.

Rofa. Madam fpeake true. It is not fo my Lord : 405

My Ladie (to the manner of the daiesj
In curtefie giues vndeferuing praife.
We foure indeed confronted were with foure
In Rufsia habit : Heere they flayed an houre,
And talk'd apace : and in that houre (my Lord) 410

They did not blefle vs with one happy word.
I dare not call them fooles; but this I thinke,
When they are thirftie, fooles would faine haue drinke.

Ber. This ieft is drie to me. Gentle fweete,
Your wits makes wife things foolifh when we greete 415

396. oaths] oath Q a . 414. Gentle fweete,] Q, Knt Fair
voutd] vowed Q. gentle fweet, F a , Cap. Cam. Glo. Fair,

397. 0] Oh/ Ktly. gentle, fweet, F 3 F 4 , Rowe,+, Var. Ran.
403. truth] trueth Q. My gentle sweet, Mai. Var. '21. Fair
406. the dates] these days Coll. iii gentle-sweet Sta. Dyce ii, iii, Huds.

(MS). Fair, gentle sweet, Steev. ct cet

408. were] here Var. '03, '13, *2I. 415. wits makes] Q. wits make

409. Rufsia] Ruffian Q. Ruffian Anon. ap. Cam. wit makes Ff et seq.
Ffctseq. / boli/k... greete] Q. fooli/h,...

flayed] ftafd F 4 et seq. greete Ff. foolish;. ..greet, Rowe. fiol-

412. this] Om. FjF 4 . ish /...greet Pope et seq.

395. a breaking cause] See Abbott ( § 419 a.) for many similar examples of
transposition.

401. messe] See IV, iii, 221.

406. to the manner of the dales] That is, according to the fashion of the time.
For « to,' see Abbott, 5 187.

414. drie] In its present meaning, stupid, pointless. Cf. ' Go to, f are a dry
foole.'— Twelfth Night, I, y, 39.

414. Gentle sweete] When counted on the fingers, this line lacks a syllable.
When spoken with the needful pause after the third foot, the rhythm is complete.

415. when we greete, etc.] Johnson : This is a very lofty and elegant compli-
ment [For the punctuation after ' foolish, 1 see Text. Notes.]



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266



LOUES LABOURS LOST



[act v, sc. ii.



With eies beft feeing, heauens fierie eie : 416

By light we loofe light ; your capacitie

Is of that nature, that to your huge ftoore,

Wife things feeme foolifli, and rich things but poore.

Rof. This proues you wife and rich : for in my eie 420

Ber. I am a foole,and full of pouertie.
Rof. But that you take what doth to you belong,
It were a fault to (hatch words from my tongue.
Ber. O, I am yours, and all that I poffeffe.

All the foole mine. 425

I cannot giue you lefle.
Which of the Vizards what it that you wore ?
Where? when? What Vizard?
Why demand you this ?

Rof. There, then, that vizard, that fuperfluous cafe, 430

That hid the worfe, and ftiewM the better face.

Kin. We are difcried,
Thej^l mocke vs now downeright

Du. Let vs confeffe,and turne it to a ieft.
Que. Amaz'd my Lord ? Why lookes your Highnes 435
fadde?
Rofa. Helpe hold his browes,hee'l found : why looke

you pale ? 438



Rof.
Ber.
Rof.
Ber.



416,417. eie:. ..light;] eie : ... light,
Q. eye,...light; F 3 F 4 ct seq.

417. loofe] lofe Ff.

418. that] as F 4 , Rowe,+.
huge] hudge Q.
ftoore] ftore Ff.

420. for] but Cap. conj.

eie] eie. Q. eye — Ff et cet.

424. 9 ] Oh, Hal.

425. mine.] mine f Pope et seq.

427. what] was QFf.

428, 429. One line, Q, Pope et seq.



430. vizard,] visor: Cap. et seq.

cafe] eafe F 3 .
43*-434- [Aside, Cap. Hal. Wh.i,Rlfe.
43 2 » 433- One line, Q, Pope et seq.
432. are] were Q.
434. Du.] Duman. Q. Duk. Ff.
437. Helpe] QFf. Help! Cap. Coll.
Wh. i. Help, Rowe et cet

dromes,] brows I Cap. et seq.
found V]Q. f wound: Ff, Rowe.
f wound I Hal. Cam. i, ii. swoon:
Pope,+. swoon / Cap. et cet



429. you this ?] Keightley {Exp. 11 1) : As the whole scene is in rime, there
should be a couplet here. We might then for ' this ' read more.

430. There, then, that vizard,] Inasmuch as an interrogation mark follows
'Where? when? What vizard?' I think a full stop, or at the least a dash, should
follow * There. Then. That vizard.'— Ed.

432-434. Capell, very properly, marked these lines as spoken aside.
437. Helpe hold his browes] Walker (Crit. iii, 45) : Speaking of Biron, not
of the King.



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act v, sc. ii.] LOUES LABOURS LOST 267

Sea-ficke I thinke comming from Mufcouie.

Ber. Thus poure the ftars down plagues for penury. 440
Can any face of braffe hold longer out ?
Heere (land I, Ladie dart thy skill at me,
Bruife me with fcorne, confound me with a flout
Thruft thy fharpe wit quite through my ignorance.
Cut me to peeces with thy keene conceit : 445

And I will wifh thee neuer more to dance,
Nor neuer more in Rufsian habit waite.
O! neuer will I truft to fpeeches pen'd,
Nor to the motion of a Schoole-boies tongue.
Nor neuer come in vizard to my friend, 450

Nor woo in rime like a blind-harpers fongue,

439. Afufcouie] Mufcovy Ff. 446. wi/h] skew Rowe ii.

440. poure] pocure Q. 450. vvtard] vizards FjF^ Rowe i.
442. /, Ladie] QF a . I, Lady, FjF^ 451. rime] time Rowe. rkime Pope.

Rowe, + . /.• lady, Cam. Glo. I t lady : /ongue] fong FgF 4 .

Cap. et cet.

437. sound] The pronunciation of this word was in a transition state when the
Folio was printing. It is thus spelled in Mid. N. D. II, ii, 160, and in As You
Like It, V, ii, 29, whereas in III, v, 19, of the latter play it is spelled ' swound,'
and in IV, iii, 166, ' swoon.' In general the later Folios have ' swound, 1 as has
also the First Folio in Win*. Tale, V, ii, 90, — « swownd.' ' Sound ' may possibly
have been pronounced soond, and thus pronounced even when spelled ' swound,' just
as, at the present day, the w in sword is almost never pronounced. When the
Nurse in Rom. 6* Jul, says she ' sounded at the sight ' there is no vulgarity in the
word; it may be found passim in the Elizabethan dramatists. Malone even asserted
that it was always either so spelled or else * swoond,' but ' swoon ' in As You Like
It disproves the assertion. — Ed.

445-447- conceit . . . waite] R. G. White : The pronunciation of * conceit,' in
vogue when this play was written, made it a perfect rhyme to 'wait' The diphthong
ei had then almost invariably the sound which it still preserves in * freight,' 'obei-
sance,' etc. — Ellis (p. 981) to the same effect He gives the sound of ei as the same
as that of a in • Mary.'

447, 450. Nor neuer] For double negatives, see Abbott, § 406. For triple
negatives, see 'nor no further in sport neyther.' — As You Like It, I, ii, 27 ; and
' nor neuer none Shall mistris be of it' — Twelfth Night, III, i, 163.

450. friend] Schmidt (Lex.) furnishes examples of the use of this word as
equivalent to lover, sweetheart, mistress,

451. blind-harpers songue] In Child's English and Scottish Popular Ballads
(IV, 16) it is stated that ' the Stationers' Registers, 22 July, 1564-22 July, 1565,
Arber, I, 260, have an entry of a fee from Owyn Rogers for license to print "a
ballett intituled The Blende Harper, etc."; and again, the following year, Arber,
I, 294, of a fee from Lucas Haryson for license to print " a ballet intituled The
Blynde Harpers, with the Answere." Nothing further is known of this ballet' It



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268 LOUES LABOURS LOST [act v, sc. ii.

Taflata phrafes, filken tearmes precife, 452

Three-piFd Hyperboles, fpruce affeftion;

453. Hyperboles] HiberboUs Q. Coll. i, Hal. Wh. affectation Rowe et

affeclion\ QFf, Mai. Var. '21, cet.

is barely possible it is to Haiyson's ballet Berowne refers ; the fact that the Blind
Harper received an ' Answere ' leads to the suspicion that he had ' wooed in rime.'
An objection to this conjecture, but not a fatal one, is that Berowne says ' like a
blind-harper's song.' — Ed.

453. Three-pil'd] Narks: 'Three-pile' is the name of the finest and most
costly kind of velvet ; worn, therefore, only by persons of rank and consequence.
It alludes to something in the construction of the velvet It seems to have been
thought that there was a three-fold accumulation of the outer surface, or pile.
(Note on Wint. Tale, IV, iii, 15, where Autolycus says * I haue ... in my time
wore three pile.')

453. affection] Malone : The modern editors read affectation. There is no need
of change. We already in this play [IV, i, 3. q. v.] have had ' affection ' for affec-
tation, — 'witty without affection/ The word was used by our author and his
contemporaries, as a quadrisyllable ; and the rhyme such as they thought sufficient.
— Ritson, whose aversion to the gentle Malone amounted at times almost to frenzy,
after quoting the foregoing note, thus launches forth : ' In the Devils name (God
forgive me for swearing I) what has the number of syllables to do here ? It is the
rime we are at a loss for, not the metre. Surely, surely, if ever man was peculiarly
disqualified by nature for an editor of Shakespeare, or, in short, for a reader of
poetry, it was this identical Mr Malone ! Could it have been imagined that a writer
in the eighteenth century would be so profoundly ignorant of the commonest rules
of versification, so totally destitute of every idea of harmony and arithmetic, as to
propose such lines as the following : — ' Three-pil'd hy-per-bo-les, spruce af-fec-tl-on,
. . . Have blown me full of mag-got os-ten-ta-ti-on.' Perhaps, however, he will
contend that « hyperboles ' is a trisyllable, as nothing can be improbable, in refer-
ence to such a genius, on the score of absurdity. Let it be so, it will make no sort
of difference : « Three-pil'd hy-per-boles, spruce affec-ti-dn.' Only in one case, we
see that on will be the rime to ation; in the other ion. [p. 41. Aptly, indeed, did
Ritson give to his pamphlet the title of « Cursory Criticisms.'— Ed.]— Steevens:
No ear can be satisfied with such rhymes as affection and ostentation.— Knight calls
attention to the fact that « if we retain " affection " we must anglicise " hyperboles"
by reading it hy-per-boles ; without this, the line has no rhythm. Shakspere has the
word in one other place only, Tro. 6* Cress. I, iii, 161 : "Would seem hyperboles.
At this fusty stuff," and there it appears to read as a word of three syllables.' —
Halliwell : The laxity of rhyme in the poetical works of the time is so great,
alterations made solely on that account should be received with great caution. To
modern readers, the emendation, affectation, appears at first sight self-evidently cor-
rect, but when it is considered that the identity of even the last syllables in two
lines was formerly sometimes considered sufficient to constitute a rhyme, the proba-
bility then seems in favour of the early text being a copy of Shakespeare's own
words. [If the Hon in ' affection ' and « ostentation ' be pronounced dissoluti, ti-on,
the requirements of rhyme are adequately, if weakly, satisfied, and we can retain the
reading of the early copies. — Ed.]



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act v, sc. ii.] LOUES LABOURS LOST 269

Figures pedantically thefe fummer flies,

Haue blowne me full of maggot oftentation. 455

I do forfweare them, and I heere proteft,

By this white Gloue ( how white the hand God knows)

Henceforth my woing minde fhall be expreft

In ruffet yeas, and honed kerfie noes.

And to begin Wench, fo God helpe me law, 460

My loue to thee is {o\xnd y fans cracke or flaw.

Ro/a. Sans, fans, I pray you.

Bet. Yet I haue a tricke
Of the old rage : beare with me, I am ficke. 464

454. pedantically fedantical ; Cap. 460. law] QFf, Rowe,+ , Hal. la

et seq. Cap. et cct.

fummer] fommer Q. 461. fans] fance Q.

456. than,] them; Theob. Warb. et 462. Sans, fans] QFf, Rowe,+, Var.
seq. '73. Sans sans Han. Dyce i, Cam. Glo.

457. this] this, F . Sans, sans Cap. Mai. Sans * sans ' Wn. i,
460. begin ...law,] QFf. begin,... law, Dyce ii, iii, Coll. iiL Sans SANS Wax.

Rowe, Pope, Theob. i. begin, ... me, '78etcet
low/ Theob. ii et seq. (subs.)

459. russet yeas . . . keraie noes] Cf. * You most coarse frieze capacities, ye
jane judgements.' — Two Noble Kinsmen, III, v, 8.

459. kersie] Murray (N E. D.) 1 Possibly named from the village of Kersey
in Suffolk; though evidence actually connecting the original manufacture of the
cloth with that place has not been found. I. A kind of coarse narrow cloth,
woven from long wool and usually ribbed. 4. f b. Figuratively : Plain, homely,
[e. g. the present line.]

460. law] Earls (§ 197) : * La* is that interjection which in modern English is
spelt lo. It was used, in Saxon times, both as an emotional cry, and also as a sign
of the respectful vocative. ... In modern times it has taken the form of lo in litera-
ture, and it has been supposed to have something to do with the verb to look, . . .
The interjection la was quite independent of another Saxon exclamation, viz. loc,
which may with more probability be associated with locian, to look. . . . The la of
Saxon times has none of the indicatory or pointing force which lo now has, and
which fits it to go so naturally with an adverb of locality, as 'Lo here,' or 'Lo
there.' While lo became the literary form of the word, la has still continued to
exist more obscurely, at least down to a recent date, even if it be not still in use.
La may be regarded as a sort of feminine to lo. In novels of the last century and
the beginning of this, we see la occurring for the most part as a trivial exclamation
by the female characters. [Cf. Twelfth Night, III, iv, 104 ; Wint. Tale, II, iii, 64.]

462. Sans, sans] Tyrwhitt: It is scarce worth remarking that the conceit
here is obscured by the punctuation. It should be written Sans sans, i. e. without
sans ; without French words : an affectation of which Biron had been guilty in the
last line of his speech, though just before he had forsworn all affectation in phrases,
terms, etc. [Berowne's response proves that Tyrwhitt' s explanation is the true one.]



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2 yo LOUES LABOURS LOST [act v, sc. ii.

He leaue it by degrees : foft, let vs fee, 465

Write Lord haue mercie on vs 9 on thofe three,

They are infe&ed, in their hearts it lies :

They haue the plague, and caught it of your eyes :

Thefe Lords are vifited, you are not free :

For the Lords tokens on you do I fee. 470

j2«.No,they are free that gaue thefe tokens to vs.

Ber. Our dates are forfeit, feeke not to vndo vs.

Rof. It is not fo ; for how. can this be true,
That you (land forfeit, being thofe that fue. 474

465^ degrees:] degrees. Cap. et seq. 467. infecled,] infected; Cam. Glo.

465./^,] QFf, Rowe, + . see,— 468. caught it] caug ht Q,.

Cap. see;— Theob. et cet (sabs.) 469. vifited,] visited; Cap. et seq.

466. on thofe] and those F 4 , Rowe, 472. ftates] 'states Coll. iii.

Pope, Han. 474. fue.] suet Theob. et seq.
three,"] three; Theob. et seq.

466. Lord haue mercie on vs] Johnson : This was the inscription pat upon
the door of the houses infected with the plague, to which Biron compares the love
of himself and his companions ; and pursuing the metaphor finds * tokens ' likewise
on the ladies. The ' tokens ' of the plague are the first spots or discolorations, by
which the infection is known to be received. — Steevens : In More Fools Yet, a col-
lection of epigrams by R. S., 1610, we find : « But by the way he saw and much
respected A doore belonging to a house infected, Whereon was plac'd (as 'tis the
custom still) The Lord have mercy on us : this sad bill The sot perused.' — Malone :
So in Overbury's Characters, 1632 : 'Lord haue mercy vpon vs, may well stand ouer
these [a prison's] doores, for debt is a most dangerous and catching City pestilence.'
— \A prison, ed. 1627.] — H ALU WELL: This touching inscription was frequently a
printed placard which was generally surmounted by a red cross. On the occurrence
of the great plague in 1665, it was not usually set up upon the door until a person
had actually died in the house ; but, in Shakespeare's time, the inhabitants of every
infected house were compelled to place some conspicuous mark upon it to denote the
fact, and innkeepers were directed to remove their signs, and substitute crosses, in
cases where taverns contained any who were seized. [Hereupon follow many quo-
tations containing the phrase.]

470. Lords tokens] Halliwell: The spots indicative of the plague were
called ' God's marks,' « God's tokens,' or « the Lord's tokens.' 'The spots, other-
wise called God's tokens, are commonly of the bignesse of a flea-bitten spot, some-
times much bigger. . . . But they have ever a circle about them, the red ones a pur-
plish circle, and the others a redjsh circle.'— Bradwell's Physick for the Sicknesse,
commonly called the Plague, 1636. [Of course, the tokens to which Berowne refers
with a double meaning were the presents which the ladies had received from the
King and his three companions.]

472. seeke not to vndo vs] That is, seek not to undo the forfeiture, or, in other
words, to relieve us of it — Ed.

474. those that sue] Johnson : That is, how can those be liable to forfeiture



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act v, sc. ii.] LOUES LABOUR'S LOST 271

Ber. Peace, for I will not haue to do with you. 475

Rof. Nor lhall not, if I do as I intend.

Ber. Speake for yourfelues,my wit is at an end

King. Teach vs fweete Madame, for our rude tranf-
grefsion, fome faire excufe.

Qu. The faired is confefsion. 480

Were you not heere but euen now, difguis'd ?

Kin. Madam, I was.

Qu. And were yob well aduis'd ?

Kin. I was faire Madame.

Qu. When you then were heere ? 485

What did you whifper in your Ladies earef

King. That more then all the world I did refpeft her

Qu. When ftiee (hall challenge this, you will reieft
her.

King. Vpon mine Honor no. 490

Qu. Peace, peace, forbeare :
your oath once broke, you force not to forfweare.

King. Defpife me when I breake this oath of mine.

Qu. I will, and therefore keepe it Rof aline, 494

477. [to his Friends, retiring. Cap. 490. mine] my F 4 , Rowe i.

478,479. Teach...tran/gre/sion,] Sep- 491,492. Prose, Q t .

arate line, Q, Rowe et seq. 493. flreahe] Tve broke Var. '73.

481. you not] not you Q, Cam. Glo. 494. it.] it, F 4 .
487. her] her. QFf.

that begin the process. The jest lies in the ambiguity of * sue, 1 which signifies to
prosecute by law, or to offer a petition.

481. euen] Goswin Koknig says (p. 29) that the syncopated form, e'en, occurs
in 95 per cent of instances, and that the full form is used [as here] only for em-
phasis.

483. well aduia'd] Stekvens: That is, acting with sufficient deliberation.—
Schmidt (Lex.): Sometimes equivalent to 'in one's sound senses, not mad.'
[Whereof the present line is cited by way of illustration.] — Rolfb: Probably
equivalent to in your right mind.

492. you force not] Johnson: This expression is the same with 'you make no
difficulty.' This is a very just observation. The crime that has been once com-
mitted, is committed again with less reluctance. — Collier : That is, You do not
hesitate, or care not, to forswear. This idiomatic use of the word is very old in our
language : 'O Lorde ! some good body for God's sake, gyve me meate, I force not
what it were, so that I had to eate.' — Int. of Jacob and Esau, 1568, II, ii. [Thus,
' For if God bee with you, what forceth who bee against you.' — Wilson, The Arte of
Rhetorique, ed. 1584, p. 86 (First, ed. 1553).— Ed.]



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272 LOUES LABOURS LOST [act v, sc. ii.

What did the Rufsian whifper in your eare ? 495

Rof. Madam, he fwore that he did hold me deare
As precious eye-fight, and did value me
Aboue this World : adding thereto moreouer,
That he would Wed me, or elfe die my Louer.

Qu. God giue thee ioy of him : the Noble Lord 500

Moft honorably doth vphold his word.

King. What meane you Madame ?
By my life, my troth,
I neuer fwore this Ladie fuch an oth.

Rof. By heauen you did ; and to confirme it plaine, 505

you gaue me this : But take it fir againe.

King. My faith and this, the Princeffe I did giue,
I knew her by this Iewell on her fleeue.
» Qu. Pardon me fir, this Iewell did (he weare,
And Lord Berowne (I thanke him) is my deare. 510

What? Will you haue me, or your Pearle againe ?

Ber. Neither of either, I remit both twaine.
I fee the tricke on't : Heere was a confent,
Knowing aforehand of our merriment,

To dafh it like a Chriftmas Comedie. 515

Some carry-tale, fome pleafe-man, fome flight Zanie,

497. A line here lost, Ktly. 507. the] to th' F 3 F 4 , Rowc,+.

did value me] my value hearVoss. 511. me 9 ] me? Theob. me; Warb.

498. thereto] Q. there Ff. thereunto 513. orit] ant Q.
Rowe ii. 515. dajh] dish Han.

502, 503. One line, Q f , Rowe ii et seq. 516. flight Zanie] Jleight fame Q.

502. Madame ?] Madam : Q. *anf Cap.

497. As ... . value me] Keightlky (Exp. in) : A line riming with this,
before, or after, seems lost.

500. God giue thee ioy] This seems to have been the customary wish at the
conclusion of a marriage engagement See Audrey's exclamation, As You Like It,
III, iii, 43.— Ed.

501. honorably] Goswin Koenig (p. 27) supposes that this word is to be here
pronounced, (as no Englishman would pronounce it,) h&norably. — Ed.

512. Neither of either] M alone: This seems to have been a common expres-
sion in our author's time. It occurs again in The London Prodigal, 1605, and in
other comedies.

513. consent] Steevens : That is, a conspiracy.

516, 517. carry- tale . . . please-man . . . mumble-newes] For other exam-
ples of ' verbs compounded with their objects,' see Abbott, § 432.



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