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guerdon! I will do it, Sir, in print. Guerdon, remuneration.
[Exit. Biron. O! and I, forsooth, in love ! I, that have been love's whip; А very
beadlesto a humorous figh:
(17) This Signior Junio's giant devarf, Dan Cupid.] It was some time ago ingeniously hinted to me, (and I readily came into the opiniun;) that as there was a contrast of terms in giant-dwarf, so, probably, there ihould be in the words immediately 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 forts very aptly with such an emendation.
That was the way to make his godhead wax,
For be halb been five thousand years a boy. The conjecture is exquisitely weil imagin'd, and ought by all means to be embrac'd, unless there is reason to think, that, in the former reading, there is an allusion to some tale, or character in an old playó I have not, on this account, ventur’d 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 the character of one Junius, a Roman captain, who falls in love to distraction with one of Bonduca's daughters; and becomes an arrant whining Nave to this passion. He is afterwards cur’d of his infirmity, and is as absolute a tyrant against the fex. Now, with regard to thefe two extremes, Cupid might very properly be ftiled funius's giant:dwarf : a giant in his eye, while the dotage was upon him; but shrunk into a dwarf, fo soon as he had got the better of it. Our poet writing the name with the Italian termination, and calling him Signior Junio, would, I think, be an objection of little weight to urge, that the Romar captain could not therefore be meant.
And I to be a corporal of his file, (18)
It is a plague,
And wear his colours like a tumbler's hoop !]
ACT III. SCENE, a Pavilion in the Park near the
Enter the Princess, Rosaline, Maria, Catharine, Lords,
Attendants, and a Forester.
Against the steep uprising of the hill ?
Prin. Who e'er he was, he shew'd a mounting mind. Well, Lords, to-day we shall have our dispatch : On Saturday we will return to France. Then Forester, my friend, where is the bush, That we must stand and play the murderer in ?
For. Here by, upon the hedge of yonder coppice; A stand, where you may make the fairest shoot.
Prin. I thank my beauty, I am fair, that shoot : And thereupon thou speak'it the faireft shoot.
For. Pardon me, madam : for I meant not so.
Prin. What, what? first praise me, then again say, no? O short-liv'd pride! not fair? alack, for woe !
For. Yes, madam, fair.
Prin. Nay, never paint me now;
For. Nothing but fair is that, which you inherit.
Prin. See, see, my beauty will be say'd by merit.
If wounding, then it was to fhew my skill;
deer's blood, that my heart means no ill.
Prin. Only for praise; and praise we may afford To any Lady, that subdues her Lord.
Enter Costard. Boyet. Here comes a member of the commonwealth.
Cot. God dig-you-den all; pray you, which is the head Lady
Prin. Thou shalt know her, fellow, by the rest that have no heads.
Cot. Which is the greatest Lady, the highest ?
Coff. The thickest and the tallest? it is so, truth is truth. An your waste, inistress, were as tlender as my wit, One o' these maids girdles for your waste should be fit. Are not you the chief woman? you are the thickest here.
Prin. What's your will, Sir? what's your will ?
Break (19) Boyet, you can carve;
Break up this capon.) i. e. open this letter. Our poet uses this metaphor, as the French do their poulet; which fignifies both a young fowl, and a love letter. Poulet, amatoriæ litteræ ; fays Richelet : and quotes from Voiture, repondre au plus obligeant poulet du monde; to reply to the most obliging letter in the world. The Italians use the same manner of expression, when they call a love-epistle, una pollicetta amorosa. I ow'd the hint of this equivocal use of the word to my ingenious friend Mr. Bijbup. l observe in Westwardboe, a comedy
Prin. We will read it, I swear.
thou art lovely; more fairer than fair, beautiful than beauteous, truer than truth itself; have commiseration on thy heroical vaffal. The magnanimous and most illustrate King Cophetua set eye upon the pernicious and indubitate beggar Zenelophon; and he it was that might rightly say, veni, vidi, vici; which to anatomize in the vulgar, (O base and obscure vulgar!) videlicet, he came, law, and overcame; he came, one; saw, two; overcame, three. Who came? the King. Why did he come to see. Why did he see? to overcome. To whom came he ? to the beggar. What saw he? the beggar. Who overcame he ? the beggar. The conclufion is victory; on whose fide! the King's ; the captive is inrich'd : on whose fide ? the beggar's. The catastrophe is a nuptial: on whose side? the King's ? nợ, on both in one, or one in both : I am the King, (for so stands the comparison) thou the beggar, for lo witnesseth thy lowliness. Shall I command thy love? I may. Shall I enforce thy love? I could. Shall I entreat thy love? I will. What shalt thou exchange for rags? robes; for tittles ? titles : for thyself? me. Thus expecting thy reply, I prophane my lips on thy foot, my eyes on thy picture, and my heart on thy every part. Thine in the dearest design of industry.
Don Adriano de Armado. written by a contemporary with our author, that one of these letters is likewise call'd a wild-fowl. Act. 2. Sc. 2.
At the skirt of that sheet in black work is wrought his name. Break not up the wild-fowltill anon, and then feed upon him in private.