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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 pennyworth 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 argu

ment 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. 7

Arm. But tell me; how was there a Costard broken in a shin? 8

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.



7 And he ended the market.] Alluding to the proverb-Three women and a goose, make a market. Tre donne et un occa fan un

Ital. Ray's Proverbs. Steevens.

- how was there a Costard broken in a shin?] Costard is the name of a species of apple. Johnson.

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 erab-stick. So, in The Loyal Subject of Beaumont and Fletcher:

I hope they'll crown his service -."
“ With a costard.Steevens.

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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 l'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 the 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.'—Signior Costard, adieu. Cost. My sweet ounce of man's flesh! my incony Jew!1

[Exit Moth.

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9 Like the sequel, 1.] Sequele, in French, signifies a great man's train. The joke is, that a single page was all his train.

Theobald. I believe this joke exists only in the apprehension of the commentator. Sequelle, by the French, is never employed but in a derogatory sense. They use it to express gang of a highway: man, but not the train of a lord; the followers of a rebel, and not the attendants on a general. Thus, Holinshed, p. 639:"to the intent that by the extinction of him and his sequeale, all civil warre and inward division might cease,” &c. Moth uses sequel only in the literary acceptation.

Mr. Heath observes that the meaning of Moth is.--" I follow you as close as the sequel does the premises." Steevens.

Moth alludes to the sequel of any story, which follows a preceding part, and was in the old story-books introduced in this manner: “ Here followeth the sequel of such a story, or adventure.” So, Hamlet says: “But is there no sequel at the heels of this mother's admonition?” M. Mason.

my incony Jew!] Incony or cony in the North, signifies, fine, delicate—as a kony thing, a fine thing. It is plain, therefore, we should read:

my incony jewel.. Warburton. I know not whether it be right, however specious, to change Few to Jewel. Few, in our author's time, was, for whatever reason, apparently a word of endearment. So, in A Midsummer Night's Dream: “ Most briskly juvenal, and eke most lovely Few."




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 I will never buy and sell out of this word.

Enter BIRON. Biron. O, my good knave Costard! exceedingly well met.

Cost. Pray you, sir, how much carnation ribbon may a man buy for a remuneration?

Biron. What is a remuneration?
Cost. Marry, sir, half-penny farthing.
Biron. O, why then, three-farthings-worth of silk
Cost. I thank your worship: God be with you!

Biron. O, stay, slave; I must employ thee:
As thou wilt win my favour, good my knave,
Do one thing for me that I shall entreat.

Cost. When would you have it done, sir?
Biron. O, this afternoon.
Cost. Well, I will do it, sir: Fare you well.
Biron. O, thou knowest not what it is.
Cost. I shall know, sir, when I have done it.
Biron. Why, villain, thou must know first.

The word is used again in the 4th Act of this play:

most incony vulgar wit.” In the old comedy called Blurt Master Constable, 1602, I meet with it again. A maid is speaking to her mistress about a gown:

it makes you have a most inconie body.” Cony and incony have the same meaning. So, Metaphor says, in Jonson's Tale of a Tub:

“O superdainty canon, vicar inconey.”. Again, in The Two Angry Women of Abington, 1599:

“O, I have sport inconey i'faith.” Again, in Marlowe's Few of Malta, 1633:

“While I in thy incony lap do tumble.” Again, in Doctor Dodypoll, a comedy, 1600: A cockscomb incony, but that he wants money."

Steevens. 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 of value. Dr. Johnson's quotation by no means proves Few to have been a word of endearment. Ritson.

Cost. I will come to your worship to-morrow morning.

Biron. It must be done this afternoon. Hark, slave, it is but this :The princess comes to hunt here in the park, And in her train there is a gentle lady; When tongues speak sweetly, then they name her name, And Rosaline they call her: ask for her; And to her white hand see thou do commend This seal'd-up counsel. There's thy guerdon; go.

[Gives him money. Cost. Guerdon-o sweet guerdon! better than remuneration; eleven-pence farthing better:2 Most sweet guerdon! - I will do it, sir, in print.3-Guerdon-lemuneration.

[Exit. Biron. 0 !-And I, forsooth, in love! I, that have been love's whip; A very beadle to a humorous sigh; A critick; nay, a night-watch constable; A domineering pedant o'er the boy, Than whom no mortal so magnificent! 4 This wimpled,s whining, purplind, wayward boy;


2 Cost. Guerdon,- sweet guerdon! better than remuneration; eleven-pence farthing better &c.] Guerdon, i. e. reward. So, in The Spanish Tragedy:

“ Speak on, I'll guerdon thee whate'er it be.” Perhaps guerdon is a corruption of regardum, middle Latin.

Steevens. in print.] i. e. exactly, with the utmost nicety. It has been proposed to me to read-in point, but I think, without necessity, the former expression being still in use. So, in Blurt Master Constable, 1602:

“ Next, your ruff must stand in print.Again, in Woman is a Weathercock, 1612:

this doublet sits in print, my lord.” Steevens. 4 Than whom no mortal so magnificent!] Magnificent here means, glorying, boasting. M. Mason.

Terence also uses magnifica verba, for vaunting, vainglorious words. Usque adeo illius ferre possum ineptias & magnifica verba. Eunuch, Act IV, sc. vi. Steevens.

5 This wimpled,] The wimple was a hood or veil which fell over the face. Had Shakspeare been acquainted with the flammeum of the Romans, or the gem which represents the marriage of Cupid and Psyche, his choice of the epithet would have been much applauded by all the advocates in favour of his learning. In Isaiah, iii, 22, we find : « the mantles, and the wimples,

This senior-junior, giant-dwarf, Dan Cupid ;6,
Regent of love-rhymes, lord of folded arms,

and the crisping-pins :" and, in The Devil's Charter, 1607, to wim. ple is used as a verb:

“ Here, I perceive a little rivelling
“ Above my forehead, but I wimple it,

“ Either with jewels, or a lock of hair.” Steevens. 6 This senior-junior, giant-devarf, Dan Cupid;] The old reading is-This signior Junio's, &c. Steevens.

It was some time ago ingeniously hinted to me, (and I readily came into the opinion) that as there was a contrast of terms in giant-dwarf, so, probably, there should be in the word imme. diately preceding them; and therefore that we should restore:

This senior-junior, giant-dwarf, Dan Cupid. i. e. this old young man. And there is, indeed, afterwards, in this play, a description of Cupid which sorts very aptly with such an emendation:

“ That was the way to make his godhead wax,

“ For he hath been five thousand years a boy." The conjecture is exquisitely well imagined, and ought by all means to be embraced, unless there is reason to think, that, in the former reading, there is an allusion to some tale, or character in an old play. I have not, on this account, ventured to disturb the text, because there seems to me some reason to suspect, that our author is here alluding to Beaumont and Fletcher's Bonduca. In that tragedy there is a character of one Junius, a Roman cap. tain, who falls in love to distraction with one of Bonduca's daughters; and becomes an arrant whining slave to this passion. He is afterwards cured of his infirmity, and is as absolute a tyrant against the sex. Now, with regard to these two extremes, Cupid might very probably be styled Junius's giant-dwarf: a giant in his eye, while the dotage was upon him ; but shrunk into a dwarf, so soon as he had got the better of it. Theobald.

Mr. Upton has made a very ingenious conjecture on this pas. sage. He reads:

“ This signior Fulio's giant-dwarf-.” Shakspeare, says he, intended to compliment Julio Romano, who drew Cupid in the character of a giant-dwarf. Dr. Warburton thinks, that by Junio is meant youth in general. Johnson.

There is no reason to suppose that' Beaumont and Fletcher's Bonduca was written so early as the year 1598, when this play appeared. Even if it was then published, the supposed allusion to the character of Junius is forced and improbable; and who, in support of Upton's conjecture will ascertain, that Julio Romano ever drew Cupid as a giant-dwarf? Shakspeare, in K. Richard III, Act IV, sc. iv, uses signory for seniority; and Stowe's Chronicle, p. 149, edit. 1614, speaks of Edward the signior, i.e. the elder. I can therefore suppose that signior here means senior, and not the Italian title of honour. Thus, in the first folio, at the end of The Comedy of Errors:

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