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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?
Biron. O, stay, slave; I must employ thee:
Cost. When would you have it done, sir?
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,0 sweet guerdon! better than remuneration; eleven-pence farthing better: Most sweet guerdon!—I will do it, sir, in print.3-Guerdon-remuneration.
[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.”
Steevens. 3 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. * 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 feli over the face. Had Shakspeare been acquainted with the flammeum of the Romans, or the gem which represents the marriage of Cupid and Psyche, bis 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
and the crisping-pins:” and, in The Devil's Charter, 1607, to wimple is used as a verb:
“ Here, I perceive a little rivelling
“ Either with jewels, or a lock of hair.” Steevens. 6 This senior-junior, giant-dwarf, 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 test, 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 çaptain, who falls in love to distraction with one of Bonduca's daugh. ters; 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 Julio'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. Ri. chard 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 :
The anointed sovereign of sighs and groans,
“S. Dro. Not I, sir; you are my elder.
“S. Dro. We 'll draw cuts for the signior.” Tollet. In the exaggeration of poetry we might call Cupid a giantdwarf; but how a giant-dwarf should be represented in painting, I cannot well conceive. M. Mason.
If the old copies had exhibited Junior, I should have had no doubt that the second word in the line was only the old spelling of senior, as in a former passage, [Act I, sc. ii,] and in one in The Comedy of Errors quoted by Mr. Tollet; but as the text appears both in the quarto, 1598, and the folio, Cupid is not himself called signior, or senior Junio, but a giant-dwarf to (that is, attending upon] signior Junio, and therefore we must endeavour to explain the words as they stand. In both these copies Funio's is printed in Italicks as a proper name.
For the reasons already mentioned, I suppose signior here to have been the Italian title of honour, and Cupid to be described as uniting in his person the characters of both a giant, and a dwarf; a giant on account of his power over mankind, and a dwarfon account of his size; [So, afterwards: “Of his (Cupid's) almighty, dreadful, little might.”] and as attending in this doublé capacity on youth, (personified under the name of Signior Junio) the age in which the passion of love has most dominion over thé heart. In characterizing youth by the name of Junio, our author may be countenanced by Ovid, who ascribes to the month of June a similar etymology:
“ Junius a juvenum nomine dictus adest.” Malone. I have not the smallest doubt that senior-junior is the true reading. Love among our ancient English poets, (as Dr. Farmer has observed on such another occasion) is always characterized by contrarieties. Steevens.
7 Dread prince of plackets,] A placket is a petticoat. Douce.
8 Of trotting paritors,] An apparitor, or paritor, is an officer of the Bishop's court, who carries out citations; as citations are most frequently issued for fornication, the paritor is put under Cupid's government. Fohnson.
9 And I to be a corporal of his field,] Corporals of the field are mentioned in Carew's Survey of Cornwall, and Raleigh speaks of them twice, Vol. I, p. 103, Vol. II, p. 367, edit. 1751. Tollet.
Giles Clayton, in his Martial Discipline, 1591, has a chapter on the office and duty of a corporal of the field. y one of Drake's Voyages, it appears that the captains Morgai. id Sampson, by
And wear his colours like a tumbler's hoop!!
this name, “had commandement over the rest of the land-captaines.” Brookesby tells us, that “ Mr. Dodwell's father was in an office then known by the name of corporal of the field, which he said was equal to that of a captain of horse.” Farmer.
It appears from Lord Stafford's Letters, Vol. II, p. 199, that a corporal of the field was employed as an aid-de-camp is now, “in taking and carrying too and fro the directions of the general, or other the higher officers of the field.” Tyrwhitt.
? And wear his colours like a tumbler's hoop!! The conceit seems to be very forced and remote, however it be understood. The notion is not that the hoop wears colours, but that the colours are worn as a tumbler carries his hoop, hanging on one shoulder and falling under the opposite arm. Fohnson.
It was once a mark of gallantry to wear a lady's colours. So, in Cynthia's Revels, by Ben Jonson: “-dispatches his lacquey to her chamber early, to know what her colours are for the day, with purpose to apply his wear that day accordingly," &c. Again, in Sir Philip Sidney's Astrophel and Stella:
“ Because I breathe not love to every one,
“ Nor doe not use set colours for to weare,” &c. I am informed by a lady who remembers morris-dancing, that the character who tumbled, always carried his hoop dressed out with ribbands, and in the position described by Dr. Johnson.
Steevens. Tumblers' hoops are to this day bound round with ribbands of various colours. Harris.
2 What? I! I love !] A second what had been supplied by the editors. I should like better to read-What? I! I love!
Tyrwhitt. Mr. Tyrwhitt's emendation is supported by the first line of the present speech:
“ And I, forsooth, in love! I, that have been love's whip --." Sir T. Hanmer supplied the metre by repeating the word What.
Malone. like a German clock, Still a repairing:] The same allusion occurs in Westward-Hoe, by Decker and Webster, 1607 :-“ no German clock, no mathematical engine whatsoever, requires so much reparation,” &c. Again, in A mad World my Masters, 1608:
she consists of a hundred pieces, “ Much like your German clock, and near allied: « Both are so nice they cannot go for pride. “ Besides a greater fault, but too well known, • They 'U strike to ten, when they should stop at one."