No More Learning

89: 'I will note bate you a single Harrington,' and _ibid. _,
_Wks. _ 6. 43.

=2. 1. 102 muscatell. = The grape was usually called
_muscat_. So in Pepys' _Diary_, 1662: 'He hath also sent each of
us some anchovies, olives and muscatt. ' The wine was variously
written _muscatel_, _muscadel_, and _muscadine_. Muscadine and
eggs are often mentioned together (cf. Text, 2. 2. 95-96; _New
Inn_ 3. 1; Middleton, _Wks. _ 2. 290; 3. 94; and 8. 36), and were
used as an aphrodisiac (Bullen). Nares quotes Minsheu: 'Vinum
muscatum, quod moschi odorem referat; for the sweetnesse and
smell it resembles muske. '

=2. 1. 116, 7 the receiu'd heresie, That England beares no Dukes. =
'I know not when this _heresy_ crept in. There was apparently some
unwillingness to create dukes, as a title of honour, in the Norman
race; probably because the Conqueror and his immediate successors were
dukes of Normandy, and did not choose that a subject should enjoy
similar dignities with themselves. The first of the English who bore
the title was Edward the black prince, (son of Edward III. ) who was
created duke of Cornwall, by charter, as Collins says, in 1337. The
dignity being subsequently conferred on several of the blood-royal,
and of the nobility, who came to untimely ends, an idea seems to have
been entertained by the vulgar, that the title itself was ominous. At
the accession of James I. to the crown of this country, there was, I
believe, no English peer of ducal dignity. '--G.

The last duke had been created in the reign of Henry VIII. , who made
his illegitimate son the Duke of Richmond, and Charles Brandon, who
married his sister Mary, Duke of Suffolk. After the attainder and
execution of Thomas Howard, Duke of Norfolk, in 1572, there was no duke
in England except the king's sons, until the creation of the Duke of
Richmond in 1623. (See _New Int. Cyc. _ 6. 349. )

=2. 1. 144 Bermudas. = 'This was a cant term for some places in
the town with the same kind of privilege as the mint of old, or the
purlieus of the Fleet. '--W.

'These _streights_ consisted of a nest of obscure courts,
alleys, and avenues, running between the bottom of St. Martin's
Lane, Half-moon, and Chandos-street. In Justice Overdo's time,
they were the receptacles of fraudulent debtors, thieves and
prostitutes. '--G. (Note on _Bart. Fair_, _Wks. _ 4. 407. )

'On Wednesday at the Bermudas Court, Sir Edwin Sandys fell foul
of the Earl of Warwick. The Lord Cavendish seconded Sandys and
the Earl told the Lord, "By his favour he believed he lied. "
Hereupon, it is said, they rode out yesterday, and, as it is
thought, gone beyond sea to fight. --_Leigh to Rev. Joseph Mede_,
July 18, 1623. ' (Quoted Wh-C. 1. 169. ) So in _Underwoods_,
_Wks. _ 8. 348:

turn pirates here at land,
Have their Bermudas and their Streights i' the Strand.

_Bart. Fair_, _Wks. _ 4. 407: "The Streights, or the Bermudas,
where the quarrelling lesson is read. "

It is evident from the present passage and the above quotations that
ruffians like Everill kept regular quarters in the 'Bermudas', where
they might be consulted with reference to the settlement of affairs
of honor.

=2. 1. 151 puts off man, and kinde. = 'I. e. , human nature. '--G. Cf.
_Catiline_, _Wks. _ 4. 212:

--so much, that kind
May seek itself there, and not find.

=2. 1. 162 French-masques. = 'Masks do not appear as ordinary
articles of female costume in England previous to the reign of
Queen Elizabeth. . . . French masks are alluded to by Ben Jonson
in _The Devil is an Ass_. They were probably the half masks
called in France 'loups,' whence the English term 'loo masks. '

Loo masks and whole as wind do blow,
And Miss abroad's disposed to go.
_Mundus Muliebris_, 1690.
--Planche _Cycl. of Costume_ 1. 365.

'Black masks were frequently worn by ladies in public in the
time of Shakespeare, particularly, and perhaps universally at
the theatres. '--Nares.

=2. 1. 163 Cut-works. = A very early sort of lace deriving
its name from the mode of its manufacture, the fine cloth on
which the pattern was worked being cut away, leaving the design
perfect. It is supposed to have been identical with what was
known as Greek work, and made by the nuns of Italy in the
twelfth century. It was introduced into England during the
reign of Queen Elizabeth, and continued in fashion during those
of James I. and Charles I. Later it fell under the ban of the
Puritans, and after that period is rarely heard of. (Abridged
from Planche, _Cycl. _)

=2. 1. 168 ff. nor turne the key=, etc. Gifford points out that the
source of this passage is Plautus, _Aulularia_ [ll. 90-100]:

Caue quemquam alienum in aedis intromiseris.
Quod quispiam ignem quaerat, extingui uolo,
Ne causae quid sit quod te quispiam quaeritet.
Nam si ignis uiuet, tu extinguere extempulo,
Tum aquam aufugisse dicito, si quis petet.
Cultrum, securim, pistillum, mortarium,
Quae utenda uasa semper uicini rogant,
Fures uenisse atque abstulisse dicito.
Profecto in aedis meas me absente neminem
Volo intromitti, atque etiam hoc praedico tibi,
Si Bona Fortuna ueniat, ne intromiseris.

Jonson had already made use of a part of this passage:

Put out the fire, kill the chimney's heart,
That it may breathe no more than a dead man.
_Case is Altered_ 2. 1, _Wks. _ 6. 328.

Wilson imitated the same passage in his _Projectors_, Act 2, Sc.
1: 'Shut the door after me, bolt it and bar it, and see you let
no one in in my absence. Put out the fire, if there be any, for
fear somebody, seeing the smoke, may come to borrow some! If
any one come for water, say the pipe's cut off; or to borrow a
pot, knife, pestle and mortar, or the like, say they were stole
last night! But harke ye! I charge ye not to open the door to
give them an answer, but whisper't through the keyhole! For, I
tell you again, I wilt have nobody come into my house while I'm
abroad! No; no living soul! Nay, though Good Fortune herself
knock at a door, don't let her in! '

=2. 2. 1 I haue no singular seruice=, etc. I. e. , This is
the sort of thing I must become accustomed to, if I am to
remain on earth.

=2. 2. 49, 50 Though they take Master Fitz-dottrell, I am no
such foule. = Gifford points out that the punning allusion of
_foul_ to _fowl_ is a play upon the word dottrel. 'The dotterel
(Fuller tells us) is avis ? ? ? ? ? ? ? ? ? ? ? a mirth-making bird,
so ridiculously mimical, that he is easily caught, or rather
catcheth himself by his over-active imitation. As the fowler
stretcheth forth his arms and legs, stalking towards the bird,
so the bird extendeth his legs and wings, approaching the fowler
till he is surprised in the net. '--G.

This is what is alluded to in 4. 6. 42. The use of the metaphor is
common. Gifford quotes Beaumont & Fletcher. _Bonduca_ and _Sea Voyage_.
Many examples are given in Nares and the _NED. _, to which may be added
_Damon and Pithias_, _O. Pl. _ 4. 68; Nash, _Wks. _ 3. 171; and Butler's
_Character of a Fantastic_ (ed. Morley, p. 401): 'He alters his gait
with the times, and has not a motion of his body that (like a dottrel)
he does not borrow from somebody else. ' Nares quotes _Old Couple_ (_O.
Pl. _, 4th ed. , 12. 41):

_E. _ Our Dotterel then is caught?
_B. _ He is and just
As Dotterels use to be: the lady first
Advanc'd toward him, stretch'd forth her wing, and he
Met her with all expressions.

It is uncertain whether the sense of 'bird' or 'simpleton' is
the original. _Dottrel_ seems to be connected with _dote_ and
_dotard_. The bird is a species of plover, and Cunningham says
that 'Selby ridicules the notion of its being more stupid than
other birds. ' In _Bart. Fair_ (_Wks. _ 4. 445) we hear of the
'sport call'd Dorring the Dotterel. '

=2. 2. 51 Nor faire one. = The dramatists were fond of
punning on _foul_ and _fair_. Cf. _Bart. Fair_ passim.

=2. 2. 77 a Nupson. = Jonson uses the word again in _Every
Man in_, _Wks. _ 1. 111: 'O that I were so happy as to light on
a nupson now. ' In _Lingua_, 1607, (_O. Pl. _, 4th ed. , 9. 367,
458) both the forms _nup_ and _nupson_ are used. The etymology
is uncertain.
The _Century Dictionary_ thinks _nup_ may be a
variety of _nope_. Gifford thinks it may be a corruption of
Greek ? ? ? .

=2. 2. 78 with my Master's peace. = 'I. e. respectfully,
reverently: a bad translation of _cum pace domini_. '--G.

=2. 2. 81 a spic'd conscience. = Used again in _Sejanus_,
_Wks. _ 3. 120, and _New Inn_, _Wks. _ 5. 337.

=2. 2. 90 The very forked top too. = Another reference to the
horned head of the cuckold. Cf. 1. 6. 179, 80.

=2. 2. 93 engendering by the eyes. = Cf. Song in _Merch. of V. _
3. 2. 67: 'It is engender'd in the eyes. '

=2. 2. 98 make benefit. = Cf. _Every Man in_, _Wks. _ 1. 127.

=2. 2. 104 a Cokes. = Cf. Ford, _Lover's Melancholy_, _Wks. _
2. 80: 'A kind of cokes, which is, as the learned term [it], an
ass, a puppy, a widgeon, a dolt, a noddy, a----. ' Cokes is the
name of a foolish coxcomb in _Bart. Fair_.

=2. 2. 112 you neat handsome vessells. = Cf. note 1. 6. 57.

=2. 2. 116 your squires of honour. = This seems to be
equivalent to the similar expression 'squire of dames. '

=2. 2. 119-125 For the variety at my times, . . . I know, to
do my turnes, sweet Mistresse. = I. e. , when for variety you turn
to me, I will be able to serve your needs. Pug, of course, from the
delicate nature of the subject, chooses to make use of somewhat
ambiguous phrases.

=2. 2. 121. = Thos. Keightley, _N. & Q. _ 4. 2. 603,
proposes to read:

Of that proportion, or in the rule.

=2. 2. 123 Picardill. = Cotgrave gives: 'Piccadilles: Piccadilles;
the severall divisions or peeces fastened together about the brimme
of the collar of a doublet, &c. ' Gifford says: 'With respect to the
_Piccadil_, or, as Jonson writes it, Picardil, (as if he supposed the
fashion of wearing it be derived from Picardy,) the term is simply a
diminutive of picca (Span. and Ital. ) a spear-head, and was given to
this article of foppery, from a fancied resemblance of its stiffened
plaits to the bristled points of those weapons. Blount thinks, and
apparently with justice, that Piccadilly took its name from the sale
of the "small stiff collars, so called", which was first set on foot
in a house near the western extremity of the present street, by one
Higgins, a tailor. '

As Gifford points out, 'Pug is affecting modesty, since he had
not only assumed a handsome body, but a fashionable dress, "made
new" for a particular occasion. ' See 5. 1. 35, 36.

Jonson mentions the _Picardill_ again in the _Challenge at
Tilt_, _Wks. _ 7. 217, and in the _Epistle to a Friend_,
_Wks. _ 8. 356. For other examples see Nares, _Gloss_.

=2. 2. 127 f. your fine Monkey=; etc. These are all common
terms of endearment. The monkey is frequently mentioned as a
lady's pet by the dramatists. See _Cynthia's Revels_, passim, and
Mrs. Centlivre's _Busie Body_.

=2. 3. 36, 7 and your coach-man bald! Because he shall be bare. =
See note to 4. 4. 202.

=2. 3. 45 This man defies the Diuell. = See 2. 1. 18.

=2. 3. 46 He dos't by Ingine. = I. e. , wit, ingenuity, with a
possible reference to the name of Merecraft's agent.

=2. 3. 49 Crowland. = Crowland, or Croyland is an ancient town
and parish of Lincolnshire, situated in a low flat district, about
eight miles north-east from Peterborough. The origin of Crowland was
in a hermitage founded in the 7th century by St. Guthlac. An abbey
was founded in 714 by King Ethelbald, which was twice burnt and
restored.

=2. 4. 6 Spenser, I thinke, the younger. = Thomas (1373-1400)
was the only member of the Despenser family who was an Earl of
Gloucester. The person referred to here, however, is Hugh le
Despenser, the younger baron, son of Hugh le Despenser, the elder.
He married Eleanor, daughter of Gilbert of Clare, Earl of Gloucester,
and sister and coheiress of the next Earl Gilbert. After the
death of the latter, the inheritance was divided between the husbands
of his three sisters, and Despenser was accordingly sometimes called
Earl of Gloucester.

Despenser was at first on the side of the barons, but later joined
the King's party. In 1321 a league was formed against him, and he
was banished, but was recalled in the following year. In the
Barons' rising of 1326 he was taken prisoner, brought to Hereford,
tried and put to death.

=2. 4. 8 Thomas of Woodstocke. = Thomas of Woodstock, Earl
of Buckingham (1355-97), the youngest son of Edward III. , was
made Duke of Gloucester by his nephew, Richard II. , in 1385, and
later acquired an extraordinary influence, dominating the affairs of
England for several years. By his high-handed actions he incurred
Richard's enmity. He was arrested July 10, 1397, and conveyed to
Calais, where he was murdered in the following September by the
king's order.

=2. 4. 10 Duke Humphrey. = Humphrey, called the Good Duke
Humphrey (1391-1447), youngest son of Henry IV. , was created
Duke of Gloucester and Earl of Pembroke in 1414. During the
minority of Henry VI. he acted as Protector of the kingdom. His
career was similar to that of Thomas of Woodstock. In 1447 he
was arrested at Bury by order of Henry VI. , who had become king
in 1429. Here he died in February, probably by a natural death,
although there were suspicions of foul play.

=2. 4. 11 Richard the Third. = Richard III. (1452-1485), Duke of
Gloucester and King of England, was defeated and slain in the battle
of Bosworth Field, 1485.

=2. 4. 12-4 MER. By . . . authentique. = This passage has been
the occasion of considerable discussion. The subject was first
approached by Malone. In a note to an essay on _The Order of
Shakespeare's Plays_ in his edition of Shakespeare's works (ed.
1790, 3. 322) he says: 'In _The Devil's an Ass_, acted in 1616,
all his historical plays are obliquely censured. '

Again in a dissertation on _Henry VI. _: 'The malignant Ben, does
indeed, in his _Devil's an Ass_, 1616, sneer at our author's
historical pieces, which for twenty years preceding had been in high
reputation, and probably were _then_ the only historical dramas that
had possession of the theatre; but from the list above given, it is
clear that Shakespeare was not the _first_ who dramatized our old
chronicles; and that the principal events of English History were
familiar to the ears of his audience, before he commenced a writer
for the stage. ' Malone here refers to quotations taken from Gosson
and Lodge. Both these essays were reprinted in Steevens' edition, and
Malone's statements were repeated in the edition by Dr. Chalmers.

In 1808 appeared Gilchrist's essay, _An Examination of the
Charges . . . of Ben Jonson's enmity,_ etc. _towards Shakespeare_.
This refutation, strengthened by Gifford's _Proofs of Ben
Jonson's Malignity_, has generally been deemed conclusive.
Gifford's note on the present passage is written with much
asperity. He was not content, however, with an accurate
restatement of Malone's arguments. He changes the italics in
order to produce an erroneous impression, printing thus: 'which
were probably then the _only historical dramas on the stage_:
He adds: 'And this is advanced in the very face of his own
arguments, to prove that there were scores, perhaps hundreds, of
others on it at the time. ' This is direct falsification. There
is no contradiction in Malone's arguments. What he attempted
to prove was that Shakespeare had had predecessors in this
field, but that in 1616 his plays held undisputed possession
of the stage. Gifford adds a passage from Heywood's _Apology
for Actors_, 1612, which is more to the point: 'Plays have
taught the unlearned the knowledge of many famous _histories_,
instructed such as cannot read in the discovery of our _English
Chronicles_: and what man have you now of that weake capacity
that being possest of their true use, cannot discourse of any
notable thing recorded even from _William the Conqueror_, until
this day? '

This passage seems to point to the existence of other historical plays
_contemporary_ with those of Shakespeare. Besides, Jonson's words
seem sufficiently harmless.