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Host. Here's goodly stuff toward!

Fal. Give me my rapier, boy.

Dol. I pray thee, Jack, I pray thee, do not draw.
Fal. Get you down stairs.

[Drawing, and driving Pistol out. Host. Here's a goodly tumult! I'll forswear keeping 200 house, afore I'll be in these tirrits and frights. So; murder, I warrant now. Alas, alas! put up your naked weapons, put up your naked weapons.

[Exeunt Pistol and Bardolph. Dol. I pray thee, Jack, be quiet; the rascal's gone. Ah, you whoreson little valiant villain, you! Host. Are you not hurt i' the groin? methought a' made a shrewd thrust at your belly.

Re-enter BARDOLPH.

Fal. Have you turned him out o' doors?

Bard. Yea, sir. The rascal's drunk: you have hurt him, sir, i' the shoulder.



199. Drawing . . .]

196. goodly] good Ff. 198. pray thee] prethee Ff. Rowe. 201. afore] before Ff. 202. murder] Murther Ff. .] Capell; om. Q, Ff. 204. pray thee] prethee Ff. 205, 226, 288, 293. whoreson] horson Q; whorson Ff. 206. a'] Re-enter B.] Capell. 208. o'la Q; of Ff. 209. Yea] Yes Ff.

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196. Here's ... toward] Here's a nice "to-do"; cf. Brome, The English Moor (Pearson, ii. 68): "Here 's good stuff towards," and line 200 post: Here's a goodly_tumult!" Stuff, "matter," as in Hamlet, II. ii. 332: "there was no such stuff in my thoughts." Toward, in preparation, forthcoming, as in Midsummer-Night's Dream, III. i. 84: "What! a play toward"; Jonson, Poetaster, IV. iii: "here's a song toward." Mrs. Quickly may, however, be alluding to Atropos, as "goodly stuff"; cf. "good stuff," the usual English translation of It. bona-roba. Middleton, Michaelmas Term, III. i: "How now? What piece of stuff comes here?" and Sir John Oldcastle, 11. ii: "Is this fit stuff for a priest to carry up and down with him?" an allusion to Doll.

201. tirrits] Mrs. Quickly's blunder for "terrors (Schmidt); or, perhaps, a dialectal form, for which compare 66 'tirry," angry; 46 tery," to provoke, torment; and Sc. "terravee," any flurry or confusion (see Wright's Dial. Dict.).

203. Exeunt 204. 's] is Ff. hee Ff.

208. 210. i' the]

202, 203. put up... weapons] For the effect of the drawn rapiers upon Mrs. Quickly's nerves, cf. Jonson, The Magnetic Lady, III. iii: "He has endanger'd my niece's health, by drawing of his weapon, God knows how far." Naked, unsheathed, drawn, as in Middleton, Blurt, Master-Constable, v. iii: "Blurt. I charge you, put up your naked weapons, and we'll put up our rusty bills."

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205. you villain] For "villain" and "rogue as terms of endearment, cf. The Return from Parnassus, II. vi: "I shall be his little rogue and his white villain for a whole week after "; and Beaumont and Fletcher, The Woman-Hater, v. ii: "2 Lady [to Gondarino]. Come, come, little rogue,

What a slovenly little villain art thou!" So, in Dekker and Webster, Northward Hoe, 11. i, Doll humours Captain Jenkins: "Ah, you little hardfavoured villain, but sweet villain!

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207. shrewd] "nasty," "wicked ". an intensive epithet, as in Jonson, Staple of News, 1. ii: "a shrewd mis



Fal. A rascal! to brave me! Dol. Ah, you sweet little rogue, you! Alas, poor ape, how thou sweatest! come, let me wipe thy face come on, you whoreson chops: ah, rogue! i' faith, I love thee: thou art as valorous as Hector of Troy, 215 worth five of Agamemnon, and ten times better than the Nine Worthies: ah, villain!

Fal. A rascally slave! I will toss the rogue in a blanket.

214. ah, rogue !] Ah rogue, Ff; a rogue, Q. ah, villain !] ah Villaine. Ff; a villaine! Q.

211. brave me] treat me with bravado, defy me by drawing his sword; cf. Beaumont and Fletcher, The Pilgrim, IV. ii "de ye brave me?" and Middleton and Dekker, The Roaring Girl, Prol.: "Another roars i' th' day-time, swears, stabs, gives braves."

212. ape] Cf. 1 Henry IV. 11. iii. 79. 214. chops] fat-chops, a person with fat, bloated cheeks. So in 1 Henry IV. 1. ii. 136, and Cotgrave: "Fafelu. Puffed up; fat cheeked; a chops." Middleton, Blurt, Master-Constable, 1. ii: "you chops!"

214. ah, rogue] Q reads a rogue, but "ah" was frequently misprinted "a"; cf., e.g. Chapman, An Humorous Day's Mirth, vii: "An hapless man," for "Ah, hapless man!"

215. Hector] Hector was regarded as the very embodiment of furious valour. See Greene, Orlando Furioso, v. ii; Field, A Woman is a Weathercock, III. ii: "I had as lief meet Hector"; and Dekker, The Shomakers Holiday (Pearson, i. 14): "Hector of Troy was à hacney to him." Also R. Tailor, The Hog Hath Lost His Pearl, 11: "I ha' seen the picture of Hector in a haberdasher's shop not look half so furious." 216. Agamemnon] The name of Agamemnon was popularly held in high respect. See J. Cooke, Greene's Tu Quoque (Haz. Dods., xi. 213): "This is the captain of brave citizens; The Agamemnon of all merry Greeks." A humorous perversion of history occurs in a reference to Agamemnon in Everie Woman in her Humor, Iv. ii: "a brave man, of the true seede of Troy, a gallant Agamemnon." Agamemnon is mentioned as a popular hero of the stage in Captain Ünderwit (c. 1640), II.

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i: "like Cavaliers with tilting feathers, Gaudy as Agamemnons in the play.' See also Jonson, Every Man in his Humour, III. ii: "he might have been the Tamburlaine, or the Agamemnon."

217. Nine Worthies] Contemporary lists of the Nine Worthies varied in their composition, but they usually consisted of three Gentiles, three Jews and three Christians, viz. Hector, Alexander,, Julius Cæsar; Joshua, David, Judas Maccabæus ; Arthur, Charlemagne, Godfrey of Bouillon. Four Worthies are mentioned in Love's Labour's Lost, v. i. 130 et seq., and v. ii. 533-536 (namely, Hector of Troy, Pompey the Great, Hercules and Judas Maccabæus). The Nine Worthies are introduced upon the stage, with appropriate descriptions, in Middleton, The World Tost at Tennis. A stage-direction quaintly runs: "The Nine Worthies dance and then exeunt." See also Roister Doister, 1. ii; Beaumont and Fletcher, Philaster, II. iv, and Thierry and Theodoret, 11. iv.

218. toss ... blanket] A punishment inflicted in contempt upon cowards. "Fetch me my two handed sword," cries Miramont, in Fletcher and Massinger, The Elder Brother, Iv. iii, but when the three courtiers, discovered with drawn swords, show the white feather, he corrects himself, "Bring me a blanket." Cf. Jonson, Staple of News, Iv. i: "Go, sir. You will be tost. in a blanket else"; New Inn, Iv. iii; Silent Woman, v. i; W. R., A Match at Midnight, 11. i; Dekker, Guls Horn-booke: ". you shall disgrace him worse than by tossing him in a blanket, or giving him the bastinado in a tavern."

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Dol. Do, an thou darest for thy heart: an thou dost, I'll canvass thee between a pair of sheets.

Enter Music.

Page. The music is come, sir.

Fal. Let them play. Play, sirs. Sit on my knee, Doll. A rascal bragging slave! the rogue fled from me like quicksilver.


Dol. I' faith, and thou followedst him like a church. Thou 225 whoreson little tidy Bartholomew boar-pig, when wilt thou leave fighting o' days and foining o' nights, and begin to patch up thine old body for heaven?


219, 220. Do... sheets.] two lines (the first ending doo'st,) Ff.

an] and . and Q; if

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221. Page.] Boy. Q.

219. an

225. I'

faith] om. Ff. 226. tidy] tydee Q; tydie Ff. 227. o'] Capell; a Q; on Ff.

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219. Do... heart] A challenge to Falstaff to be as good as his word. Cf. Gammer Gurton's Needle, III. iii: "Stand to it, dastard, for thine ears"; Nashe, Summer's Last Will (Haz. Dods., viii. 61): "Carouse; pledge me, and you dare!"-a challenge to drink which is accepted with, "'Swounds, I'll drink with thee for all that ever thou art worth!" Doll's challenge is, of course, ironical, and implies that Falstaff will not risk his "heart" (= life) in giving effect to his threat. Cf. Middleton, Michaelmas Term, 1. ii: "deny a satin gown and you dare now." For youris a common form of expression to denote an object or amount at stake. Cf. Chapman, Bussy D'Ambois, I. i: "if thou darest for thy dukedom," and Jonson, Catiline, IV. v. 220. canvass . sheets] Cf. Middleton, No Wit, no Help Like a Woman's, Iv. ii, and Beaumont and Fletcher, The Custom of the Country, v. i: “This fencing 'twixt a pair of sheets." Canvass, to toss in a canvas sheet: "hence, to deal with severely" (Onions). Cf. Jack Juggler (Haz. Dods., ii. 143): 66 Marry, sir, this is handling for the nonce... I was never this canvassed and tossed"; Greene, Mamillia (Grosart, ii. 17): "he had bin too sore canuased in the nettes " and Nabbes, The Bride, 11. i. 222. Sit. . .] Cf. Barry, Ram-Alley,

IV. i.

223, 224. like quicksilver] So Middle

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ton, Your Five Gallants, III. ii: “it runs like quicksilver." Hamlet, 1. v. 66: quick as quicksilver," and Jonson, Every Man out of his Humour, 1. i: "As humorous as quicksilver."

225. like a church] This image may have been suggested by Nashe, Summer's Last Will (Haz. Dods., viii. 57), where Autumn says of Bacchus' paunch, "Methinks that [is] built like a round Church."

226. whoreson] A coarse term of endearment.

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226. tidy] in prime condition; or "delicate," "tender." Onions quotes Rider's Dict. 1589: "Tidie, fatte, or tender, 'Cereus.' Cf. Topsell, Four-footed Beasts (1658), p. 518: good tidy pigs," and Beaumont and Fletcher, The Sea-Voyage, III. i: "Shee's young and tydie, . . . she'll eat delicately." Tidy, timely, in season, prime; Dan. tidlig.

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226. Bartholomew boar-pig] An allusion to the roast pig dear to the patrons of Bartholomew Fair. "Bartholomew " was used as an epithet to describe articles sold at the Fair, e.g." Bartholomew pig" (see Jonson, Bartholomew Fair, i. i). Pigs were supposed to be in prime condition about Bartholomewday, August 24. I. Walton (Compleat Angler, Part I. x) says of the Pike: "From St. James-tide until Bartholomew-tide is the best; when they have had all the summer's food, they are the fattest." "Boar-pig," young boar.

Enter, behind, PRINCE HENRY and POINS, disguised.

Fal. Peace, good Doll! do not speak like a death's-head; do not bid me remember mine end.


Dol. Sirrah, what humour's the prince of?

Fal. A good shallow young fellow a' would have made a good pantler, a' would ha' chipped bread well.

Dol. They say Poins has a good wit.

Fal. He a good wit? hang him, baboon! his wit's as thick 235

229. Enter...] Steevens (1778) subst.; Enter Prince and Poynes. Q; Enter the Prince... disguis'd. Ff. 233. ha'] a Q; haue Ff.


Glapthorne, The Hollander, IV. i: "a Dutch ram a Westfally Borepig." For "boar-pig as a term of endearment, cf. "pigsnie (a diminutive of pig), as in Wilkins, Miseries of Enforced Marriage, v: "my lamb, my pigsny."

229. death's-head] a skull used as a memento mori. See 1 Henry IV. 111. iii. 30 (and notes); Middleton and Massinger, The Old Law, Iv. i: "buy thee a death's head"; Mayne, The City Match, v. ii; and Donne, A Valediction (Muses Lib. i. 26).

230. remember mine end] So in A Knack to Know an Honest Man, vii: "To thee I giue this scalpe, and pray thee euerie day, Beholding it, to thinke vpon thy end." To remember or reflect upon one's end was formerly a recognized religious exercise; many jesting references to it occur in the drama. Thus Middleton and Massinger, The Old Law, Iv. i: "Gnotho. . . . O old woman, what art thou? must thou find no time to think of thy end?" and Dekker, Satiro-mastix (Pearson, i. 226): 60 you and I wil thinke vpon our ends at the Tables." Much stress was laid upon" a good end." Thus in the earliest English translation of De Imitatione Christi (ed. Ingram, p. 145): “Graunte me a gode ende, graunte me a graciose goyng oute of his worlde."

231. humour] disposition, character. So Jonson, The Silent Woman, v. i: "what humour is she of? Is she coming and open, free?"

232. shallow] simple; cf. Dekker and Webster, Westward Hoe, v. i: "Is 't possible that three shallow women should gull three such gallants?" and

234. has] hath

Beaumont and Fletcher, Cupid's Revenge, v. i: "a weak shallow fool."

233. pantler] pantry-man. One of the pantler's duties was to chip away the hard crust on the loaves. See Fletcher, The Bloody Brother, III. ii: "Of me poor Paul the Pantler, That thus am clipt, because I chipt The cursed Crust of Treason With Loyall Knife"; Wilkins, Miseries of Enforced Marriage, II: "a pantler's chippings." Loaves had hard and brittle crusts, wherefore A. Borde (Dyetary of Helth, c. 1542) says: "Burnt breade, and harde crustes, & pasty crustes, doth ingendre color, aduste, and melancholy humours; wherefore chyp_the_vpper crust of your breade (E.E.T.S. ed., p. 261). Craig quotes William Physician, Bock of Simples, 1562: "In great men's houses the bread is chipped and so largely pared that much of it is abused and shamefully made into soppe for dogges." Pantler, or Panter, from L. panem, bread.

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235. hang him] An expression of impatience, as in Jonson, Every Man in his Humour, 1. iii: “Hang him, rook! he! why, he has no more judgment than a malt-horse." Lingua, III. ii; and Fletcher, The Honest Man's Fortune, v. i: "I.... what think ye of the Courtier ? 2. Hang him Hedge-hog: h' as nothing in him but a piece of Euphues."

235. baboon] The similitude probably lies partly (1) in the strength and agility of the baboon-its capacity for athletic feats-and partly (2) in its shallow brain. (1) Barry, Ram-Alley, Iv. i; Mayne, The City Match, 111. iii: “some active baboon can do all your


as Tewkesbury mustard; there's no more conceit in
him than is in a mallet.

Dol. Why does the prince love him so, then?

Fal. Because their legs are both of a bigness; and a' plays at quoits well; and eats conger and fennel; and drinks 240 off candles' ends for flap-dragons; and rides the wild

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238. does] doth Ff.

feats." (2) Look About You, xv: "Your baboon, your ass, your gull!" There are numerous references in the drama to exhibitions of performing or dancing baboons. See, for instance, Barry, Ram-Alley, I. i, and Everie Woman in her Humor, v. 1. The baboon is sometimes mentioned as a type of ugliness or of lechery.

236. Tewkesbury mustard] Tewkesbury was once famous for its mustard. Brome, The City Wit, m. i: "I'le lay all my skill to a messe of Tewkesbury Mustard."

236. conceit] invention, wit. 237. mallet] Cf the epithet "beetleheaded" in Taming of the Shrew, IV. i. 160.

239. a bigness] one size. Dekker and Webster, Westward Hoe, 11. i: "when lank thighes brought long stockings out of fashion, the Courtiers Legge, and his slender tilting staffe grew both of a big. nesse. Poins resembled the Prince in having a good leg-then an important item in the inventory of a man's looks. See Wily Beguiled (Haz. Dods., ix. 28), and J. Cooke, Greene's Tu Quoque (Haz. Dods., xi. 239): "A very proper fellow, good leg, good face, A body well-proportioned.'

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240. eats... fennel]i.e. has a good digestion and a dull wit. The conger is described by writers on gastronomy as having remarkably firm and hard "flesh" which needs much stewing to render it digestible. It was, in our author's time, usually soused or pickled, and served with fennel. N. Breton, Wit's Trenchmour (Grosart, ii. 10): "The Cunger must be sowst"; Dekker, The Shomakers Holiday (Pearson, i. 23): 66 sowst cunger "; Jonson, Bartholomew Fair, II. i: "a. ger... and ... fennel in the joll on 't"; Cartwright, The Ordinary, II. i: "Some choice sous'd fish. . . in a


dish Among some fennel or some other grass." Beisly (Shakespeare's Garden, p. 158) says that fennel was "used as a sauce with fish hard of digestion." In Beaumont and Fletcher's Philaster, 11. ii, the witty Galatea, counselling Pharamond as to the means, as fasting, exercise, by which he may reduce his girth, concludes, " but, of all, your grace must flie phlebotomie, fresh porke, conger, and clarified whay; they are all dullers of the vital spirits," i.e. they will make you grow stupid and fat. There is little evidence to support the view of Steevens and Nares that conger with fennel was regarded as a provocative.


240, 241. drinks... flap-dragons] i.e. performs acts of gallantry and bravado. Cf. Jonson, Cynthia's Revels, v. iii: "stabbing of arms, flap-dragons, healths, whiffs, and all such swaggering humours," and Fletcher, Monsieur Thomas, II. ii: "carowse her [some suburb saint's] health in Cans And candles ends; Marston, The Dutch Courtezan, IV. i: “if I have not been drunk to your health, Swallowed flap-dragons, ate glasses . . . and done all the offices of protested gallantry for your sake.” “A flap-dragon is some small combustible body, fired at one end, and put afloat in a glass of liquor. It is an act of a toper's dexterity to toss off the glass in such a manner as to prevent the flap-dragon from doing mischief" (Johnson). In swallowing the flap-dragon the player sometimes met with misadventure. We read, for instance, of a Flemish corporal who was lately choked at Delpht with a flap-dragon (W. R., A Match at Midnight, II. i).


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241, 242. rides. . . boys] plays with the youngsters at see-saw. "Riding the wild-mare was one of the gambols in which Ralph, the grocer's apprentice, in Beaumont and Fletcher, Knight of

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