evil sense.

The verb is seldom used now, though broker

and brokerage remain.

BUNTING. Act II., Sc. 5.

"I took this lark for a bunting."

The lark and the common bunting greatly resemble each other, but the bunting has no song.

BUT. Act II., Sc. 3.

"Marry to each-but one."

Except one. See Taming of the Shrew,' Act III., Sc. 1.

CAPTIOUS AND INTENIBLE. Act I., Sc. 3.

"In this captious and intenible sieve."

Captious is capable of taking or receiving, and intenible is unfitted for retaining.

CESSE. Act V., Sc. 3.

"O nature cesse."

Cesse is cease, and thus the word is generally printed, but the old form is used by Chaucer in Troilus and Cressida,' book ii.

"But cesse cause, and cesseth maladie."

COMPANY. Act IV., Sc. 3.

"I would gladly have him see his company anatomised." His company is the company he keeps; his companion. EMBOSSED. Act III., Sc. 6.

"We have almost embossed him."

Embossed is probably here used in the sense of exhausted. It usually means swollen in lumps; in the old hunting language the weary stag was embossed.

FAVOUR. Act I., Sc. 1.

"Of his sweet favour."

Favour is here used for countenance, looks. We still say a person is well or ill favoured.

FINE. Act V., Sc. 3.

"Thou art too fine in thy evidence."

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Too fine is too full of finesse. In Bacon's 'Apophthegms,' the phrase is used in a complimentary sense, Your majesty was too fine for my Lord Burghley."

FOR. Act III., Sc. 5.

"For the king had married him.”

For in the sense of because, for that.

GO TO THE WORLD.

Act II., Sc. 1.

Act I., Sc. 3. See 'Measure for Measure,'

HIGHER. Act II., Sc. 1.

"Let higher Italy."

Higher is not used in a geographical sense as Upper Italy, but is applied to the general dignity of Italy as descended from ancient Rome.

HOODMAN. Act IV., Sc. 3.

"Hoodman comes."

The game of blindman's buff, to which this is an allusion, was formerly called hoodman blind.

INGAGED. Act V., Sc. 3.

"I stood ingag'd."

Ingaged we think signifies pledged, engaged, to the lady, though Malone believes that it has the sense of unengaged, as inhabitable is used for uninhabitable.

"If you give him not John Drum's entertainment."

According to Holinshed, "Tom Drum's entertainment," was "to hale a man in by the head, and thrust him out by both the shoulders."

LEAGUER. Act III., Sc. 6.

"Into the leaguer of the adversaries." Leaguer is from the German lager, a camp.

LUSTICK. Act II., Sc. 3.

"Lustick, as the Dutchman says."

Lustick (spelt lustig) is Dutch for merry, cheerful, vigorous. MONARCH. Act I., Sc. 1.

"And you, monarch."

Monarch is here a sarcastic allusion to an Italian commonly called the Monarch, who figured in London about 1580, who was possessed of the notion that he was sovereign of the world. He is also alluded to in 'Love's Labour's Lost,' Act IV., Sc. 1, "A phantasm, a monarcho."

MOOD. Act V., Sc. 1.

"Muddied in fortune's mood."

Mood is caprice. Warburton changed the word to moat, which is the common reading.

"I speak the truth the next way."

The next way is the nearest way.

"I did think thee, for two ordinaries, to be a pretty fellow."

The time occupied by two ordinaries (or dinners) at the same table; i. e. for little more than a day.

PASSAGE. Act I., Sc. 1.

"O, that had! how sad a passage 't is !"

Passage is what passes. This use of the word is now little known, though we still speak of a passage of an author. Modern writers substitute for it event and circumstance, words that do not convey the same impression.

PROFESSION. Act II., Sc. 1.

"With one, that, in her sex, her years, profession."

Her profession is what she professes, her declaration of purpose. QUART D'ECU. Act IV., Sc. 3.

"For a quart d'ecu he will sell the fee-simple of his salvation.” The quart d'ecu was a piece of French money, the fourth part of a gold crown. It was sometimes written cardecue.

REMOVES. Act V., Sc. 3.

"For four or five removes." The removes are the stages on her journey.

RUFF. Act III., Sc. 1.

"Mend the ruff, and sing."

The top of the loose boot which turned over was called the ruff or ruffle. Ben Jonson has the latter word in 'Every Man out of his Humour,' "One of the rowells catch'd hold of the ruffle of my boot."

SCARRE. Act IV., Sc. 2.

"I see that men make ropes in such a scarre."

A scarre or scar is a steep or precipitous rock. Phillips, in his 'World of Words,' says that scar, in this sense, is the origin of the name of Scarborough.

SEASON. Act I., Sc. 1.

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""T is the best brine a maiden can season her praise in."

To season is to make savoury, to preserve. Malone has objected to the metaphor as being vulgar, but it is often used by Shakspere, and he has the authority of Holy Writ, “Ye are the salt of the earth."

SEASON. Act V., Sc. 3.

"I am not a day of season."

A day of season is a seasonable day. Sunshine and hail mark a day out of season.

STAGGERS. Act II., Sc. 3.

"Into the staggers."

This is not an allusion to the disease so called in horses, though Dr. Johnson supposed it was, but is used to express uncertainty, insecurity. In 'Cymbeline' Posthumus uses the

word in the same sense :

"Whence come these staggers on me?"

STAIN. Act I., Sc. 1.

"You have some stain of soldier in you."

Some tincture, some slight mark.

STILL-PEERING. Act III., Sc. 2.

"Move the still-peering air."

Still-peering is appearing still, quiet.

SUGGESTIONS. Act III., Sc. 5.

"A filthy officer he is in those suggestions."

Suggestions are ill counsels, temptations.

TABLE. Act I., Sc. 1.

"In our heart's table."

Table is the surface, the tablet, on which a picture is painted, and thence used for the picture itself.

TOLL. Act V., Sc. 3.

"I will buy me a son-in-law in a fair, and toll for this."

The payment of the toll at a fair or market was necessary to
the validity of a sale. Lafeu will get rid of Bertram by toll
and sale. The custom is described in Hudibras :-

"Where, when, by whom, and what 't were sold for,
And in the open market toll'd for."

THE FINE'S THE CROWN. Act IV., Sc. 4. From the Latin, "finis coronat opus."

TRICK. Act I., Sc. 1.

"Of every line and trick of his sweet favour."

Trick is more than once used by Shakspere in the sense of peculiarity. So in 'King John:'—

"He hath a trick of Coeur-de-Lion's face."

And also in Lear.

UNHAPPY. Act IV., Sc. 4.

"A shrewd knave, and an unhappy."

Unhappy is here unlucky, mischievous.

VALIDITY. Act V., Sc. 1.

"Whose high respect, and rich validity." Validity is here used in the sense of value.

WARD. Act I., Sc. 1.

"To whom I am now in ward."

Under the old feudal tenures the heirs of great estates were the king's wards, and a profit was made of them. In England there was a Court of Wards, which was not abolished till 1658.

WHAT DO YOU CALL THESE?

What d'ye call it?

WHITE DEATH.

Act II., Sc. 3.

Act II., Sc. 1. This is equivalent to

"Let the white death sit on thy cheek."

The paleness of death.