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birth.'— Ed.

582. After this line, Capell has the stage-direction : ' Converses apart with the
King, and delivers him a paper.' Without this or a similar stage-direction, Capell
holds it to be impossible to understand the King's explanation of the masque in
lines 591-596, concluding with two lines of doggerel, which the King evidently
reads from Armado' s paper. [It was customary at Masques, and especially at Dumb
Shows where there was no Prologue, to present to the most notable personage pres-
ent a written account of what was about to be performed ; sometimes with the ques-
tion whether or not the proposed plot were acceptable. See Brotanek, Die Rng~
lischen Maskenspiele, 1902, pp. 71, 80, where, however, the learned author seems to
be unaware that in the present instance the stage-direction is modern. — Ed.]

588. Too too] Whitney (Cent. Diet.) : {a) Quite too ; noting great excess or
intensity, and formerly so much affected as to be regarded as one word, and often so
written with a hyphen. Hence — (b f ) As an adjective or adverb, very good ; very
well; used absolutely. Ray, English Words (ed. 1691), p. 76. (c) As an adjec-
tive, superlative ; extreme ; utter ; hence enraptured ; gushing ; applied to the so-
called esthetic school, their principles, etc., in allusion to their exaggerated affecta-
tion. [See notes on Hamlet, I, ii, 129 ; Mer. of Ven, II, vi, 49 (of this ed.) ; or
Abbott, § 73 ; or Franz, § 303.]



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act v, sc. ii.] LOUES LABOURS LOST 281

fay) to Fortuna delaguar, I wilh you the peace of minde

moft royall cupplement. 590

AJag-.Here is like to be a good prefence of Worthies;
He prefents Heclor of Troy, the Swaine Pompey f great,
the Parifli Curate Alexander, Armadoes Page Hercules,
the Pedant Iudas Machabeus : And if thefe foure Wor-
thies in their firft ftiew thriue, thefe foure will change 595
habites,and prefent the other fiue.

Ber. There is fiue in the firft fhew.

Kin. You are deceiued, tis not fo.

Ber. The Pedant, the Braggart, the Hedge-Prieft the

Foole, and the Boy, 600

Abate throw at Novum, and the whole world againe,

589. Fortuna] Fortnna F . 597. is] are Rowe, + , Hal.
delaguar,] Q. delaguar. Ff, 598. You are] You're Cap. (In Er-

Rowe, Pope, de la guerra. Tbeob. rata.)

Warb. Johns. Cam. Glo. delta guerra. 601. Abate] Q, Coll. Sing. Dyce, Sta.

Han. et cet. Wh. Cam. Glo. Ktly. A bare Ff, Rowe,

590. cupplement] QFf, Rowe, Pope, + , Cap. Var. Ran. A fair Heath.
Han. complement Q.. compliment Abate a Mai. Steev. Var. Knt, Hal.
Hal. coupplement Theob. Warb. Johns. A better Brae. [Obelized in Glo.]
couplement Cap. et cet 601. Abate... Novum] Abate four ab

[Exit Armado. Cap. novem Bulloch.

594-596. Two lines, ending thriue,... Novum] Novem Cap. Sing. Wh.

fiue. Rowe ii et seq. Ktly, Huds.

589. delaguar] Cambridge Editors : The modern editors, who have followed
Hanmer's reading in preference to Theobald's, have forgotten that Armado is a
Spaniard, not an Italian. — Schmidt (Lex. p. 1427) : De la guerra does not suffi-
ciently suit with the context. Perhaps fortuna del aqua, fortune or chance of the
water, with allusion to the old saying, that swimming must be tried in the water ; or
fortuna de la guar da y Fortune of guard, i. e. guarding Fortune. [It is to be regretted
that Dr Schmidt did not explain how the * chance of the water ' or ' Fortune of guard,'
as tests of a pageant, suits ' with ' the context better than the ' chance of war.' — Ed.]

590. cupplement] Murray (N E. D.) distinguishes between the use of this
word in the present passage and that in Sonnet, xxi : ' Making a coopelment of
proud compare With Sunne and Moone, with earth and seas rich gems,' which he
defines as ' the act of coupling or fact of being coupled together.' The present use
he defines as ' the result of coupling. A couple, pair,' and gives an example from
Spenser, Fairie Queene, VI, v, 24, « And forth together rode, a comely couplement'

599. Hedge-Priest] Murray (N. E. D. s. v. ' Hedge,' substantive) : 8 a.
Born, brought up, habitually sleeping, sheltering or plying their trade under hedges,
or by the road-side (and hence used generally as an attribute expressing contempt),
as hedge-brat, -chaplain, -curate, etc. Also Hedge-priest [This last word is de-
fined as] 'an illiterate or uneducated priest of inferior status (contemptuous).'

601. Abate] Murray (N. E. D.) : 16. figuratively. To omit, leave out of



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282 LOUES LABOURS LOST [act v, sc. iL

Cannot pricke out fiue fuch, take each one in's vaine. 602

JGnJThc fhip is vnder.feile,and here ftie corns amain.

Enter Pompey. 604

602. pricke] Ff (prich F s ). picket}, 604. Enter...] Enter Costard for

Cap. Coll. Dyce ii, iii, Wh. Cam. Glo. Pompey. Rowe. Pageant of the nine

in's) Ff, Rowe, + , Wh. L in Worthies. Flourish. Enter, arm' d and

his Q, Cap. et cet. accouter'd, his Scutcheon born [sic]

vaine] vain F $ F 4 . vein Rowe. before him, Costard for Pompey. Cap.

[Seats brought forth. Cap.

count; to bar or except. [In quoting this present line as an example, Murray
prints: ' Abate [a] throw, 1 etc.] — Capell adopted the reading of F, and explained
it as ' a quibbling allusion to a short throw at a species of gaming with dice, pro-
nounced novum, but whose right name was novem, — Malone : I have added only
the article [' Abate a '], which seems to have been inadvertently omitted. I suppose
the meaning is, — Except or put the chance of the dice out of the question, and the
world cannot produce five such as these. — Knight and Dyce adopted this interpre-
tation of Malone. — Collier considered Malone' s < Abate a ' as needless, and ob-
serves that ' "Abate throw at novum" seems equivalent to saying, *' barring throw
at dice/' or barring the chance of throwing, these persons cannot be matched. '

601. Novum] Douce: This game. . . was properly called novum quinque,
from the two principal throws of the dice, nine and five ; and then Biron's mean-
ing becomes perfectly clear, according to the reading of the old editions. — Steev-
ens : Thus in Deleter's Bel-man of London, 1608 : The principall vse of them
[i. e. Langarets, or false dice] is at Nouum, For so long as a paire of Bard Cater
Treas [another name for langarets] be walking, so long can you cast neither 5. nor
9. vnles it be by great Chance, that the rooghnes of the table, or some other stoppe
force them to stay, and to runne against their kind ; for without Cater, Trea, 5.
or 9. you know can neuer come' [p. 120, ed. Grosart This extract, almost unin-
telligible, is not without value ; it reveals our ignorance of the game of ' novum ' ;
and without a knowledge of this game this line, as it stands in the Folio, will
remain in an obscurity quite dark enough to justify the Globe Edition's Obelus. —
Ed.]

602. pricke out] Grey (i, 153) : Qu. 'pick out?' as he uses the expression else-
where. * Could the world pick thee out three such enemies again,' etc. / Hen. IV;
II, iv, 403. [Grey was not aware that his conjecture was the reading of the Qto,
which is to be preferred to that of the Folio.]

604. Enter Pompey] Ever since Capell' s day a majority of the editions of this
play have a stage-direction stating that here enters a « Pageant of the Nine Wor-
thies '; on this Pageant much has been written, chiefly a reproduction of the notes
of Ritson and of Steevens. Ritson's note {Remarks, 38) is as follows :— This sort
of procession was the usual recreation of our ancestors at Christmas, and other fes-
tive seasons. Such things, being plotted and composed by ignorant people, were
seldom committed to writing, at least with the view of preservation, and are, of
course, rarely discovered in the researches of even the most industrious antiquaries.
And it is certain that nothing of the kind (except the speeches in this scene, which
were intended to burlesque them) ever appeared in print. The curious reader will



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act v, sc. ii.] LOUES LABOURS LOST 283

[604. Enter Pompey.]
not, therefore, be displeased to see a genuine specimen of the poetry and manner
of this rude and ancient drama from an original MS of Edward the Fourth's time.
(MSS Tanner, 407.)

IX Wurthy.

Ector de Troye. Tbow h** 11 ** *" ****** me riow

Of my wurthynes men speken } now.

Alisander ^ n< * * n romaunce °^ ten *** J l evt
As conquerour gret thow } seyt.
Julius Cesar. Tnow mv cenatoures me slow in cCllory
Fele londes by fore by conquest wan J.
Tosue * n ^°^ C nvrcnc ze mowen here & rede

Of my wurthynes and of my dede.
Dauit Aitou y* ^»3m was golyas

By me the sawter than made was.
Judas macabeus. Of my wurthynesse zyf ze wyll wete
Seche the byble for ther it is wrete.

Arthour The round ^y 11 J sette w * knyghtes strong

Zyt shall J come azen thow it be long,
ru-jg. With me dwellyd rouland olyvere
In all my Conquest fer and nere.
GodefteydeBoleyn. And J was Kyng of Jhern«lem

The crowne of thorn I wan fro hem.
In another part of the same MS are preserved different speeches, for three of
these worthies, which have most probably belonged to a distinct pageant . . .
Sometimes, it should seem, that these things were in a more dramatic form (1. e.
dialogue-wise) ; and, indeed, it is here that we must look for the true origin of the
English stage. Behold a champion, who gives a universal defiance (Harl. MSS,
1 197, very old)) : ' I ame a knigh[t]e And menes to fight And armet well ame I Lo
here I stand With swerd ine hand My manhoud for to try.' The challenge is in-
stantly accepted : * Thow marciall wite That menes to fight And sete vppon me so
Lo heare J stand With swrd in hand To dubbelle euery bloue.' Here would neces-
sarily ensue a combat with the back-sword or cudgel, to the great entertainment as
well as instruction of the applauding crowd. Possibly it served to conclude the
pageant instead of an epilogue, and not improperly. — Steevens : In MS Harl.
2057, p. 31, is 'The order of a showe intended to be made Aug. 1, 1621 : First,
2 woodmen, etc. St George fighting with the dragon. The 9 worthies in com-
plete armor with crownes of gould on their heads, every one having his esquires to
beare before him his shield and penon of armes, dressed according as these lords
were accustomed to be : 3 Assaralits, 3 Infidels, 3 Christians. After them, a Fame,
to declare the rare virtues and noble deedes of the 9 worthye women.' [Staunton's
reproduction of this MS varies in spelling somewhat from Steeven's.] — Douce :
When Ritson states that nothing of the kind had ever appeared in print he appears
to have forgotten the pageants of Dekker, Middleton, and others, a list of which
maybe found in Baker's Biog. dramatica [vol. iii, p. 114, ed. 181 2]. — Knight
(Biography, p. 1 00), for the sake of imparting a vividness to his description of
the influences which may have affected Shakespeare's boyhood, describes the per-
formance in Coventry of an ancient pageant of ' The Nine Worthies,' ' such as was
presented to Henry VI. and his Queen, in 1455.' Knight further imagines that



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

Go. I Pornpey am. 605

Ber. You lie, you are not he,

Clo. I Pompey am. 607

605, 607. am.] am— Theob. Warb. 606. Ber.] Bcro. Q. Bin Cap. Mai.

et seq. (subs.) Boy. Ff et cet

Shakespeare was in the audience, and that in the present scene we have almost a
' downright parody * of some of the bombastic speeches in the Coventry play. I fail
to detect any similarities, other than those which must of necessity arise from iden-
tity of subject, but then some enthusiasm must be granted to a man who is writing a
biography without any materials. — Halliwell, however, in referring to this passage
in Knight's Biography, remarks (Memoranda, etc., p. 69) that ' there is not the
slightest evidence or probability that this old pageant, written for a special occa-
sion, was ever performed at a later period.' « These Worthies/ continues Halliwell,
' were frequent subjects of dramatic representation. " Divers play Alexander on
the stages," observes Williams in his Discourse of Warre, 1590, " but fewe or none
in the Held." '

605. I Pompey am] Halliwkll-Phillipps (Memoranda, etc.) : The following
curious anecdote connected with the representation of a rustic speech-play, which
may refer to a modernised form of some rude provincial dramatic dialogue that
Shakespeare may possibly have heard in his youth, occurs amongst my papers, but
I have unfortunately neglected to note whence it was derived : — ' In Cumberland it
is essential to maskers who are adepts and hope for applause, to perform what is
there called a speech-play, in contradistinction to mumming or mummery of which
the primary import is pantomimical representation. I cannot learn that the speech-
plays exhibited on these occasions have ever been written, much less printed, and I
regret that it has not been in my power to procure one as spoken. But I happen to
remember a story relating to them which was current in the county when I was a
boy, and which, though low and ludicrous, is not only a fair specimen of rustic wit,
but also, it may be, of the theatrical abilities displayed in the infancy of the drama.
One of these maskers, it is said, as the company could not presume to aspire to a
Chorus, once announced his character to the audience in these words, — "I am
Hector of Troy"; on which, one of the people exclaimed,— " Thou, Hector of
Troy ! why, thou 'rt J won Thomson oth' Lwonin steed — what, didst fancy I'd not
know thee because thou art disguised?" The play proceeded, and it being neces-
sary to the conduct of the piece that Hector should die, this son of the sack, having
been previously instructed that it would not be quite natural to die instantaneously
on his fall, nor without two or three convulsive pangs, when he fell on the floor, as
he had been directed, first fetched a deep groan, counting as it were to himself the
while, was heard to say, ae pang ; on fetching another groan he again said, twae
pangs ; and in like manner, when a third groan was uttered, he said faintly, three
pangs and now rs dead.' John Thompson was anticipated by the recommendation
given by Bottom to Snug the Joiner, while the account of the dying scene is curi-
ously analogous to the stage-death of Fyramus by three thrusts of the sword, —
' Thus die I,— thus, thus, thus !'

606. You lie] Staunton : We must suppose that, on his entrance, Costard pros-
trates himself before the court ; hence Boyet's joke.



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act v, sc. ii.] LOUES LABOURS LOST 285

Boy. With Libbards head on knee. 608

Ber. Well faid old mocker,
I muft needs be friends with thee. 610

Clo. I Pompey am, Pompey furnani *d the big.

Du. The great.

Clo. It is great fir : Pompey surnantd the great:
That oft infield, with Targe and Shield,

did make my foe to fweatx 615

And trauaUing along this coafl, I heere am come by chance.
And lay my Armes before the legs of this fweet Laffe of

France.
If your Ladifhip would fay thankes Pompey, I had done.

La. Great thankes great Pompey. 620

Clo. Tis not fo much worth : but I hope I was per-
feft. I made a little fault in great.

Ber. My hat to a halfe-penie, Pompey prooues the
beft Worthie.

Enter Curate for Alexander. 625

609, 610. One line, Q, Theob. et seq. 620. La.] Lady. Q. Prin. Ff et

616. trauailing] travelling Theob. seq.

618. [does his Obeisance to the Prin- 621, 622. perfecT\ parfect Dyce i.
cess. Cap. 622. [retires. Cap.

619. If ... Pompey,] Separate line, 625. Curate] Nathaniel. Rowe. Sir
Hal. Nathaniel. Coll.

608. Libbards head on knee] Theobald : This alludes to those old-fashioned
garments, upon the knees and elbows of which, it was frequent to have, by way of
ornament, a Leopard's or a Lion's head. This accoutrement the French called une
masquine. [In the Variorum of 1821, this note is attributed to Warburton, who
has it, indeed, in his edition, but he took it from Theobald who had it not only in
his edition, but had communicated the substance in a letter to Warburton. See
Nichols, Illust. ii, 328; where Theobald quotes Cotgrave: * Masquine : f. The
representation of a Lyon's head, etc., upon the elbow, or knee of some old-fash-
ioned garments.']— Bradley (N.E. D.) gives ' libbard ' as the archaic variant of
leopard. [The frontispiece of vol. iv of Halliwell's folio edition is 'part of the
Pageant of the Nine Worthies, from a large Plate in a collection of engravings of
Turnois Allemands, formed by Baron Taylor of Paris.' In this the Worthy repre-
senting Alexander has a ' libbard' s head' on the shoulder. Halliwell does not
mention it, however, in his note. — Ed. ]

623. My hat to a halfe-penie] Halliwell : A vernacular phrase, not peculiar
to Shakespeare, ' Hee is the only man living to bring you where the best licour is,
and it is his hat to a halfe penny but hee will be drunke for companie.' Lodge,
Wit? Miserie, 1596, p. 63. A similar phrase occurs in The Knight of the Burning
Pestle, III, ii, — ' I hold my cap to a farthing he does.'



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

Curat, WhenintheworldIliiSd,IwastheworldesCom- 626
mander :
By Eafl, Wefl, North, & South, Ijftred my conquering might
My Scutcheon plaine declares that I am Alifander.

BoieU Your nofe faies no, you are not : 630

For it Hands too right.

Ber. Your nofe fmels no, in this mod tender fmel-
ling Knight.

Qu. The Conquerer is difmaid :
Proceede good Alexander. 635

Cur. When in the world I lined, I was the worldes Com-
mander.

Boiet. Moft true, 'tis right : you were fo Alifander.

Ber. Pompey the great

Clo. your feruant and Cojlard. 640

Ber. Take away the Conqueror, take away Alifander

Clo. O fir, you haue ouerthrowne Alifander the con-
queror : you will be fcrapM out of the painted cloth for 643

629. Scutcheon] Escutcheon Pope. 636, 637. Commander.] comman-
1 scutcheon Theob. der; — Cap. et seq. (subs.)

630. 631. One line, Q, Pope et seq. 639. great.] great/ Han. Coll. great —

631. too right'] not right Rowe ii, Theob. et seq. (subs.)
Pope, Han. 640. your] F t .

632. this moft] his moft Q. his, most 642. OJir,] O, fir y [to Nath.] Cap.
Cap. this, most Theob. et seq. et seq. (subs.)

634, 635. One line, Q, Pope et seq. 642, 643. conqueror: you] conqueror.

635. Alexander] Atisander Cap. [to Nath.] You Rowe,+.

631. it stands too right] Steevens : It should be remembered, to relish this
joke that the head of Alexander was obliquely placed on his shoulders. [Plutarch
says : ' — that excellent workeman Lysippus onely, of all other the chiefest, hath
perfectly drawen and resembled Alexanders manner of holding his necke, somewhat
hanging down towards the left side/ — North's Translation.]

632. Your nose smels no] Douce (i, 244) : Biron is addressing, or rather ridi-
culing Alexander. Plutarch in his life of that hero relates, on the authority of
Aristoxenus, that his skin ' had a marvellous good savour, and that his breath was
very sweet, in so much that his body had so sweet a smell of itselfe that all the
apparell he wore next his body, tooke thereof a passing delightful savour, as it
had been perfumed.' This Shakespeare had read in Sir Thomas North's trans-
lation.

642, 643. O sir . . . conqueror] Rowe prints this sentence as addressed to
Berowne; before the next sentence he places the stage-direction [to Nath.], —
Capell prints both sentences as addressed to Nathaniel. Of the two, Rowe's
arrangement seems the better. — Ed.

643. painted cloth] Dyce (Gloss.)'. 'Painted cloth,' used as hangings for



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act v, sc. ii.] LOUES LABOURS LOST 287

this : your Lion that holds his Pollax fitting on a dofe
ftoole, will be giuen to Aiax. He will be the ninth wor- 645
thie. A Conqueror, and affraid to fpeake ? Runne away
for ftiame Alifander. There an't (hall pleafe you : a foo-
lifh milde man, an honed man, looke you,& foon dafht
He is a maruellous good neighbour infooth, and a verie
good Bowler : but for Alifander> alas you fee, how 'tis a 650
little ore-parted. But there are Worthies a comming,
will fpeake their minde in fome other fort. Exit Cu.

Qu. Stand afide good Pompey.

Enter Pedant for Iudas, and the Boy for Hercules.

Ped. Great Hercules is prefented by this Impe, 655

644. his] the F 4 , Rowe, + . Dyce, Cam. Glo.

Pollax] Polax Q. 650. fee, haw 'tis] Q x Ff, Rowe, + .

645. Aiax]Q. .4/Vz.rFf, Rowe, Pope, fee, hew it's Q,. see, how he's Han.
Han. Coll. Hal Dyce, Wh. Cam. Glo. see, hew 'tis,— Johns. Dyce, Cam. Glo.
A-jax Theob. et cet see, hew 'tis; Cap. et cet

be] be then Rowe,+. then be 651. a comming] a-coming Dyce,

Var. '73, '78, '85, Ran. Cam. Glo.

646. affraid] Ff, Rowe,+. a feared 652. Exit Cu.] Exit Curat Q. Exit
Q. afeard Cap. et seq. Clo. Ft Flourish. Cap. Om. Rowe

647. Alifander. There] Alexander. et cet

[exit Nath.] There, Johns, et seq. (subs.) 653. Qu.]Quee. Q. Clo. Ff. Biron.

;«:];«Q. you! Cap. Var. Ran. Rowe,+, Var. Ran. King. Coll. MS.

648. milde man,] mild man ; Theob. Prin. Cap. et seq.

Warb. et seq. [Exit Costard. Coll. ii, iii (MS).

649. infooth] fayth Q, Coll. Dyce, 654. Pedant... the Boy] Holofernes...
Cam. Glo. Moth. Rowe et seq.

650. Alifander,] Alisander, — Cap. 655. [presenting Moth. Cap.

rooms, was cloth or canvas, painted in oil, representing various subjects, with
devices and mottoes or proverbial sayings interspersed; it has been erroneously
explained to mean * tapestry.'

644. Lion . . . Pollax] Theobald : ' The fourth (Worthy) was Alexander, the
which did beare Geules, a Lion Or seiante in a chayer, holding a battle-axe argent'
— Gerard Leigh's Accidence of Armorie, 1591, fol. 23.

645. Aiax] An unsavory pun which needs no further elucidation than that the
last syllable recalls the very old word jokes, a latrina. The curious student is
referred to Halliwell, who devotes a folio page to the subject

651. ore-parted] Malone : That is, the part or character allotted to him in this
piece is too considerable.

653. Stand . . . good Pompey] The Text, Notes show how this speech has been
bandied about.

655. Hercules is] Walker (Vers, 98): Read Hercules', not Hercules is,
[The apostrophe indicates the absorption of is ; but such precision in rhythm is of
doubtful necessity in a speech where we have ' canus.' — Ed.]



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

Whofe Club kil'd Cerberus that three-headed Canus, 656

And when he was a babe, a childe, a fhrimpe,

Thus did he ftrangle Serpents in his Manus :

Quoniam, he feemeth in minoritie,

Ergo, I come with this Apologie. 660

Keepe fome ftate in thy exit } axid vanifh. Exit Boy

Ped. Iudas / am.

Dum. A Iudas?

Ped. Not Ifcariot fir.
Iudas I amycliped Machabeus. 665

Dum. Iudas Machabeus dipt, is plaine Iudas.

Ber.A kifsing traitor.How art thou prouM Iudas ?

Ped. Iudas I am.

Dum. The more fhame for you Iudas.

Ped. What meane you sir ? 670

Boi. To make Iudas hang himfelfe.

Ped. Begin fir,you are my elder.

Ber. Well follow'd, Iudas was hanged on an Elder. 673

656. Cerberus] Cerebus Rowe i. 662, 668. am.] am, — Cap. et seq.

that] the Han. 665. ycliped] F 9 , Hal. Dyce, Cam.

Canus] QFf. Cants Rowe, Coll. Glo. Ktly. ecliped Q. yclipped F^

Hal. Wh. Cam. Glo. Rowe. ycleped Pope et cet

661. vanijk] so vanish Ktly oonj. Machabeus.] Machabeus; — Cap.
Exit Boy] Exit Moth. Rowe. 667. prou'd] proud Q. proved Ff.

Moth does his obeisance, and retires. 672. ftr y ~\ sir; Cap. et seq.

Cap. 673. followed,] follow'd; Theob. et

662. Ped.]Om. Mai. Hal. Dyce, Sta. seq.
Wh. Cam. Glo.

661. Keepe . . . vanish] Theobald (Nichols, Ulust. ii, 328) : As this speech is
by Holophernes, and as that immediately subsequent is by him too, I have a strong
suspicion that this line, addressed to Moth, should be placed to Biron or Boyet.

661. Exit Boy] Dyce (ed. i) : Here the modern editors, with the exception of
Capell [and the Cambridge Editors — ed. Hi], retain the ' Exit,' — unaccountably for-
getting that afterwards in this scene (line 771) Moth speaks to his master.

667. kissing] R. G. White (ed. i) : One meaning of ' clip ' was to embrace, to
throw the arms about ; and hence Judas Maccabeus clipped is called ' a kissing traitor.'
[It is not Judas Machabeus who is called a 'kissing traitor, 1 but ' plain Judas,'
which refers to Judas Iscariot, a pointed reference which Dumain and Boyet con-
tinue. — Ed.]

673. Elder] Dyce ( Gloss, s. v. Judas) : Such was the common legend ; in
accordance to which, Sir John Mandevile tells us that in his time, the very tree was



Online LibraryWilliam ShakespeareA new variorum edition of Shakespeare → online text (page 38 of 52)