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Counsel me, Tranio, for I know thou canst;
Tra. Master, it is no time to chide you now;
Luc. Gramercies, lad; go forward: this contents; The rest will comfort, for thy counsel's sound.
Tra. Master, you look'd so longlys on the maid,
Luc. O yes, I saw sweet beauty in her face,
Tra. Saw you no more? mark'd you not, how her sister
- is not rated - ] Is not driven out by chiding. Malone. So, in Antony and Cleopatra:
'tis to be chid, “ As we rate boys.” Steevens. 3 if love have touch'd you, nought remains but so,] The next line from Terence shows that we should read:
If Love hath toylld you, i. e. taken you in his toils, his nets. Alluding to the captus est, habet, of the same author. Warburton.
It is a common expression at this day to say, when a bailiff has 'arrested a man, that he has touched him on the shoulder. Therefore touch'd is as good a translation of captus, as toyld would be. Thus, in As you Like it, Rosalind says to Orlando: “ Cupid hath clapt him on the shoulder, but I warrant him heart-whole.”
M. Mason. 4 Redime &c.] Our author had this line from Lilly, which I mention, that it may not be brought as an argument for his learning. Johnson.
Dr. Farmer's pamphlet affords an additional proof that this line was taken from Lilly, and not from Terence; because it is quoted, as it appears in the grammarian, and not as it appears in the poet. It is introduced also in Decker's Bellman's Night-Walk, &c. It may be added, that captus est, habet, is not in the same play which furnished the quotation. Steevens.
- longly – ] i. e. longingly. I have met with no example of this adverb. Steevens.
daughter of Agenor -] Europa, for whose sake Jupiter transformed himself into a bull. Steevens.
Luc. Tranio, I saw her coral lips to move, And with her breath she did perfume the air; Sacred and sweet, was all I saw in her.
Tra. Nay, then, 'tis time to stir him from bis trance.
Luc. Ah, Tranio, what a cruel father 's he!
Tra. Ay, marry, am I, sir; and now 'tis plotted.
Master, for my hand,
You will be schoolmaster,
It is: May it be done?
Luc. Basta ;8 content thee; for I have it full.'
she shall not be annoyd – ] Old copy-she will not. Cor. rected by Mr. Rowe. Malone.
8 Basta;] i. e. 'tis enough; Italian and Spanish. This expression occurs in The Mad Lover, and The Little French Lawyer, of Beaumont and Fletcher. Steevens.
I have it full.] i. e. conceive our stratagem in its full extent. I have already planned the whole of it. So, in Othello:
“I have it, 'tis engender'd ." Steevens.
I will some other be; some Florentine,
Tra. So had you need. [They exchange habits.
Luc. Tranio, be so, because Lucentio loves:
you stol'n his? or both? pray, what's the news?
So, in The Merchant of Venice:
“ 'Tis not unknown to you, Antonio,
« Than my faint means would grant continuance.” Reed. 2- or mean man of Pisa.] The old copy, regardless of me. tre, reads-meaner. Steevens.
and fear I was descried:] i.e. I fear I was observed in the act of killing him. The editor of the third folio reads-I am descried, which has been adopted by the modern editors.
While I make way from hence to save my life:
I, sir? ne'er a whit.
Bion. The better for him; 'Would I were so too!
after, That Lucentio indeed had Baptista's youngest daughter. But, sirrah,—not for my sake, but your master's,–I
advise You use your manners discreetly in all kind of com
panies: When I am alone, why, then I am Tranio; But in all places else, your masters Lucentio.
Luc. Tranio, let 's go: One thing more rests, that thyself execute;To make one among these wooers: If thou ask me
why, Sufficeth, my reasons are both good and weighty. 6
[Exeunt. 1 Serv. My lord, you nod; you do not mind the play.
Sly. Yes, by saint Anne, do I. A good matter, surely; Comes there any more of it?
Page. My lord, 'tis but begun.
Sly. 'Tis a very excellent piece of work, madam lady; 'Would 't were done!
4 So would 1,] The old copy has—could. Corrected by Mr. Rowe. Malone.
your master - ) Old copy-you master. Corrected by the editor of the second folio. Malone.
good and weighty.] The division for the second Act of this play is neither marked in the folio nor quarto editions.Shakspeare seems to have meant the first Act to conclude here, where the speeches of the Tinker are introduced; though they have been hitherto thrown to the end of the first Act, according to a modern and arbitrary regulation. Steevens.
7 Exeunt.) Here in the old copy we have—“ The Presenters above speak."-meaning Sly, &c. who were placed in a balcony raised at the back of the stage. After the words---- Would it were done,” the marginal direction is—They sit and mark.
Before Hortensio's House.
Gru. Knock, sir! whom should I knock? is there any man has rebused your worship?
Pet. Villain, I say, knock me here soundly.
Gru. Knock you here,' sir? why, sir, what am I sir, that I should knock you here, sir?
Pet. Villain, I say, knock me at this gate, And rap me well, or I'll knock your knave's pate. Gru. My master is grown quarrelsome: I should
knock you first, And then I know after who comes by the worst.
Pet. Will it not be? 'Faith, sirrah, an you 'll not knock, I 'll wring it;? I'll try how you can sol, fa, and sing it.
[He wrings Gru. by the ears. Gru. Help, masters, help! my master is mad. Pet. Now, knock when I bid you: sirrah! villain!
has rebused your worship?] What is the meaning of rebused? or is it a false print for abused? Tyrwhitt.
9 Knock you here,) Grumio's pretensions to wit have a strong resemblance to those of Dromio in The Comedy of Errors, and this circumstance makes it the more probable that these two plays were written at no great distance of time from each other.
Malone. wring it;] Here seems to be a quibble between ringing at a door, and wringing a man's ears. Steevens.
Help, masters,] The old copy reads-here; and in several other places in this play, mistress instead of masters. Corrected by Mr. Theobald. In the MSS. of our author's age, M was the common abbreviation of Master and Mistress. Hence the mistake. See The Merchant of Venice, Act V, 1600, and 1623: “What ho, M. (Master] Lorenzo, and M. (Mistress] Lo