Pol. Do even drag me homeward: which to hinder Leon. Tongue-tied, our queen? speak you. until You had drawn oaths from him, not to stay. You, sir, The by-gone day proclaim'd; say this to him, Leon. Well said, Hermione. Her. To tell, he longs to see his son, were strong: But let him say so then, and let him go; But let him swear so, and he shall not stay, We'll thwack him hence with distaffs. Yet of your royal presence [To POLIXENES] I'll adventure The borrow of a week. When at Bohemia 7 To let had for its synonymes to stay or stop; to let him there is to stay him there. Gests were scrolls in which were marked the stages or places of rest in a progress or journey, especially a royal one. Strype says that Cranmer entreated Cecil To let him have the new resolved upon gests, from that time to the end, that he might from time to time know where the king was.' It is supposed to be derived from the old French word giste. i.e. indeed, in very deed, in troth. Good deed is used in the same sense by the Earl of Surrey, Sir John Hayward, and Gascoigne. I love thee not a jar o' the clock behind Pol. Her. Nay, but you will? Pol. Her. Verily! No, madam. I may not, verily. You put me off with limber vows: But I, Though you would seek to unsphere the stars with oaths, Should yet say, Sir, no going. Verily, You shall not go; a lady's verily is As potent as a lord's. Will you go yet? Not like a guest; so you shall pay your fees, say you? How My prisoner? or my guest? by your dread verily, One of them you shall be. Pol. Your guest then, madam: To be your prisoner, should import offending ; Which is for me less easy to commit, Than you to punish. Of Her. Not your gaoler then, But your kind hostess. Come, I'll question you lord's tricks, and yours, when you were boys; You were pretty lordings 9 then. my Pol. We were, fair queen, Two lads that thought there was no more behind, But such a day to-morrow as to-day, And to be boy eternal. Her. Was not my lord the verier wag o'the two? Pol. We were as twinn'd lambs, that did frisk i' the sun, And bleat the one at the other: what we chang'd, Was innocence for innocence; we knew not 9 Lordings, a diminutive of lords, often used by Chaucer, The doctrine of ill doing, nor dream'd That any did: Had we pursued that life, And our weak spirits ne'er been higher rear'd Her. By this we gather, You have tripp'd since. Pol. O my most sacred lady, Temptations have since then been born to us: for In those unfledg'd days was my wife a girl; Your precious self had then not cross'd the eyes Of my young play-fellow. Her. Grace to boot 11! Of this make no conclusion; lest you say, Your queen and I are devils: Yet, go on; The offences we have made you do, we'll answer; If you first sinn'd with us, and that with us You did continue fault, and that you slipp'd not but with us. With any Leon. Is he won yet? Her. He'll stay, my lord. Leon. Her. What? have I twice said well? when was't before? 10 i. e. setting aside original sin, bating the imposition from the offence of our first parents, we might have boldly protested our innocence. 11 Grace to boot.' An exclamation equivalent to give us grace. In King Richard III. we have: 'Saint George to boot.' The phrase has been well explained by the author of the Diversions of Purley. I pr'ythee, tell me : Cram us with praise, and make us As fat as tame things: One good deed, dying tongueless, Slaughters a thousand, waiting upon that. What was my first? it has an elder sister, Or I mistake you: O, 'would, her name were Grace! But once before I spoke to the purpose: When? Nay, let me have't; I long. Leon. Why, that was when Three crabbed months had sour'd themselves to death, Ere I could make thee open thy white hand, And clap 12 thyself my love; then didst thou utter, I am yours for ever. Her. It is grace, indeed.— Why, lo you now, I have spoke to the purpose twice: The one for ever earn'd a royal husband; The other, for some while a friend. Leon. [Giving her Hand to POLIXENES. To mingle friendship far, is mingling bloods. 12 At entering into any contract, or plighting of troth, this clapping of hands together set the seal. Numerous instances of allusion to the custom have been adduced by the editors, one shall suffice, from the old play of Ram Alley: Come clap hands a match.' The custom is not yet disused in common life. 'from bounty, fertile bosom.' I think with Malone that a letter has been omitted, and that we should read:-- 13 And well become the agent: it may, I grant: Mam. Leon. I'fecks? Why, that's my bawcock 15. What, hast smutch'd thy nose?— They say, it's a copy out of mine. Come, captain, [Observing POLIXENES and HERMIONE. Upon his palm?-How now, you wanton calf? my calf? Art thou Mam. Yes, if you will, my lord. Leon. Thou want'st a rough pash, and the shoots that I have 17, 14 i. e. the death of the deer. The mort was also certain notes played on the horn at the death of the deer. 15 Bawcock.' A burlesque word of endearment supposed to be derived from beau-coq, or boy-cock. It occurs again in Twelfth Night, and in King Henry V. and in both places is coupled with chuck or chick. It is said that bra'cock is still used in Scotland. 16 Still playing with her fingers as a girl playing on the virginals. Virginals were stringed instruments played with keys like a spinnet, which they resembled in all respects but in shape, spinnets being nearly triangular, and virginals of an oblong square shape like a small piano-forte. Spineto and espinette are rendered in the Dictionaries by a paire of virginalles; this was the common term, as the organ was sometimes called a pair of organs. 17 Thou wantest a rough head, and the budding horns that I have. A pash in some places denoting a young bull calf whose horns are springing; a mad pash, a mad brained boy. |