I'll home, and think at liberty. Yet, certain, I'll venture to look in; if there be knaves, Woman. [Within.] Signor? Woman. [Within.] Signor Fabritio? Woman. [Within.] Fabritio? John. This is a woman's tongue; here may be good done. Woman. [Within.] Who's there? Fabritio? Woman. [Within.] Where are you? Woman. [Within.] Oh, come, for Heaven's sake! John. I must see what this means. Enter Woman, with a Bundle from the House. Woman. I have staid this long hour for you. Make no noise, For things are in strange trouble. Here; be secret; 'Tis worth your care. Be gone now: More eyes watch us [Gives him the bundle. Than may be for our safeties. John. Hark you! Woman. Peace! Good night. [Exit. John. She is gone, and I am loaden; Fortune for me! It weighs well, and it feels well; it may chance 'Tis of no common price. Now to my lodging! If it hit right, I'll bless this night. [Exit. Enter FREDERIC. Fred. 'Tis strange I cannot meet him; sure he has encounter'd Till ye claw off your curl'd pate, thank your night-walks; You must be still a boot-halling. One round more, [Exit. "Some light-o'-love or other.] The tune of Light-o'-love was very popular, and is frequently alluded to in these plays, as in The Noble Gentleman and The Two Noble Kinsmen. It is printed from an ancient MS. by Sir John Hawkins (Shakspeare, VI. 109.) The name of it became, of course, a denomination for a courtezan, as in the text, and in the following passage quoted by Mr Douce, from a puritan tract entitled, The Glasse of Man's Follie, 1615-4. "There be wealthy hous-wifes, and good housekeepers, that use no starch, but faire water: their linen is white, and they look more Christian-like in small ruffles than Light of Love lookes in her great starched ruffs, looke she never so hie, with eye-lids awrye." 8 Boot-halling.] Most probably an indecent allusion. In Monsieur Thomas, one of Hylas's objections to matrimony is, because he would not cobble other men's old BOOTS. Ed. 1778. The allusion is certainly indecent, but the reference to Monsieur Thomas contributes little to the explanation of the term. Cotgrave explains picoreur, "A boot-haler, in a friend's country, a ravening, or filching souldier." So in the Roaring Girl, or Moll Cutpurse, Jack Dapper says, " Sirrah, captain, mad Mary, the gull my own father (Dapper Sir Davy) laid these London boot-halers the catchpoles in ambush to set upon me." SCENE IV. A Room in the Duke's Lodgings. Enter Duke and three Gentlemen. Duke. Welcome to town. Are ye Duke. Where are the horses? 3 Gent. Fear not us: Shall bring ye to my rescue. 2 Gent. We are counsell'd. Ere you shall be endanger'd, or deluded, Duke. No more; I know it. 1 Gent. Will you go alone, sir? Duke. Ye shall not be far from me; the least noise [Exeunt. SCENE V all fit.? A Street. Enter DON JOHN, with a Child in his Arms. John. Was ever man so paid for being curious, To point] Signifies completely, as we now say, to a hair. Ed. 1778. It is a literal translation of the French a point. Ever so bobb'd for searching out adventures, Into men's houses, where I had no business, Of maidenheads, caught the common way? i' th' Under another's name, to make the matter me, If I had got this gingerbread; never stirr'd me, 'What's the purchase?] Purchase was used as a general term for property illegally acquired. In the sequel of this soliloquy the word is again used as a verb, with a similar meaning. A bevy of these butter-prints.] It has been already observed, that this was a favourite word with Fletcher for a child. 1 For other men's adulteries, consume myself in caudles,3 And scow'ring-works, in nurses, bells, and babies, The good old gentlewoman, at whose house we live, SCENE VI. Another Street before Constantia's House. Enter FREDERIC. Fred. Sure he's gone home: I have beaten all the purlieus, 3 Consume myself in candles.] The variation in the text was recommended by Sympson, and rejected by the last editors, who refer to a passage in the Lovers' Progress, where the word candles occurs in a similar manner. It is however self-evident that Sympson is right. 12 |