She hung about my neck; and kiss on kiss Bap. I know not what to say: but give me your hands; -God send you joy, Petruchio! 'tis a match. Gre. Tra. Amen, say we; we will be witnesses. I will to Venice, Sunday comes apace :- [Exe. PET. and KATH. severally Tra. 'Twas a commodity lay fretting by you: Tra. And I am one, that love Bianca more Than words can witness, or your thoughts can guess. Gre. But thine doth fry." Skipper, stand back; 'tis age, that nourisheth. [6] i. e. a timorous dastardly creature. STEEVENS. "The fire of love in youthful blood, But for the moment burns : But when crept into aged veins, It slowly burns, and long remains; It glows, and with a sullen heat, Like fire in logs, it burns, and warms us long: And though the flame be not so great, Yet is the heat as strong." JOHNSON. Bap. Content you, gentlemen; I'll compound this strife: -Say, signior Gremio, what can you assure her? Basons, and ewers, to lave her dainty hands In ivory coffers I have stuff'd my crowns; Fine linen, Turkey cushions boss'd with pearl, 1 Tra. That only came well in.--Sir, list to me, I am my father's heir, and only son: If I may have your daughter to my wife, I'll leave her houses three or four as good, Old signior Gremio has in Padua ; Besides two thousand ducats by the year, Of fruitful land, all which shall be her jointure.- Gre. Two thousand ducats by the year, of land! Tra. Gremio, 'tis known, my father hath no less [8] Counterpoints were in ancient times extremely costly In Wat Tyler's rebellion, Stowe informs us, when the insurgents broke into the wardrobe in the Savoy, they destroyed a coverlet, worth a thousand marks. MALONE [3] We may suppose that pewter was, even in the time of Queen Elizabeth, too costly to be used in common. STEEVENS [1] A galeas or gelliass, is a heavy low built vessel of burthen, with both sails and oars, partaking at once of the nature of a ship and a galley. STEEVENS. And twice as much, whate'er thou offer'st next. Tra. Why, then the maid is mine from all the world, By your firm promise; Gremio is out-vied.' Bap. I must confess, your offer is the best; Gre. And may not young men die, as well as old? I am thus resolv'd:-On Sunday next, you know, And so I take my leave, and thank you both. [Exit. Gre. Adieu, good neighbour.-Now I fear thee not; Sirrah, young gamester, your father were a fool Set foot under thy table: Tut! a toy ! [Exit. Tra. A vengeance on your crafty wither'd hide! Yet I have fac'd it with a card of ten." Do get their children; but, in this case of wooing, [Exit. [2] This is a term at the old game of gleek. other, he was said to be out-vied STEEVENS. When one man was vied upon an Vye and revye were terms at cards, now superseded by the more modern word, brag. The words were frequently used in a sense somewhat remote from the original one. In the famous trial of the seven bishops, the chief justice says: "We must not permit vying and revying upon one another." FARMER. [3] That is, with the highest card, in the old simple games of our ancestors. So that this became a proverbial expression WARBURTON As we are on the subject of cards, it may not be amiss to take notice of a common blunder relative to their names. We call the king, queen, and knave, courtcards, whereas they were anciently denominated coats, or coat-cards, from their coats or dresses. STEEVENS. 282 ACT III. SCENE I.-A Room in BAPTISTA'S House. Lucentio. Enter LUCEN FIDDLER, forbear; you grow too forward, sir: Luc. Preposterous ass! that never read so-far Hor. Sirrah, I will not bear these braves of thine. Luc. Here, Madam :— Hac ibat Simois; hic est Sigeia tellus ; Bian. Construe them. Luc. Hac ibat, as I told you before,-Simois, I am Lucentio,-hic est, son unto Vincentio of Pisa,-Sigeia tellus, disguised thus to get your love;-Hic steterat, and that Lucentio that comes a wooing,-Priami, is my man Tranio, regia, bearing my port,-celsa senis, that we might beguile the old pantaloon.* [4] The old cully in Italian farces. JOHNSON. Hor. Madam, my instrument's in tune. Bian. Let's hear;— O fye! the treble jars. [Returning. [HORTENSIO plays. Luc. Spit in the hole, man, and tune again. Bian. Now let me see if I can construe it: Hac ibat Simois, I know you not ;-hic est Sigeia tellus, I trust you not;-Hic steterat Priami, take heed he hear us not;regia, presume not;-celsa senis, despair not. Hor. Madam, 'tis now in tune. Luc. All but the base. Hor. The base is right; 'tis the base knave that jars. How fiery and forward our pedant is! Now, for my life, the knave doth court my love: Bian. In time I may believe, yet I mistrust. Bian. I must believe my master; else, I promise you, I should be arguing still upon that doubt: But let it rest.-Now, Licie, to you : Good masters, take it not unkindly, pray, That I have been thus pleasant with you both. Hor. You may go walk, [To LUCENTIO.] and give me leave a while; My lessons make no music in three parts. Luc. Are you so formal, sir? well, I must wait, And watch withal; for, but I be deceiv'd, Our fine musician groweth amorous. [Aside. Hor. Madam, before you touch the instrument, To learn the order of my fingering, I must begin with rudiments of art; Than hath been taught by any of my trade: Bian. Why, I am past my gamut long ago. Hor. Yet read the gamut of Hortensio. Bian. [Reads.] Gamut I am, the ground of all accord, A re, to plead Hortensio's passion ; B mi, Bianca, take him for thy lord, C faut, that loves with all affection: D sol re, one cliff, two notes have 1; E la mi, show pity, or I die. Call you this-gamut? tut! I like it not: |