The Plays and Poems of William Shakespeare

brance of a shrowd." 15:) That defunctive music can,] || Julius Cæsar we meet with a kindred thought: "- -mine That understands funereal music. To con in Saxon siguifies to know. The modern editions read: "That defunctive music ken." MALONE. 16:) That thy sable gender mak'st With the breath thou giv'st and tak'st,] suppose this uncouth expression means, that the crow, or raven, continues its race by the breath it gives to them as its parent, and by that which it takes from other animals: i. e. by first producing its young from itself, and then providing for their support by depredation. Thus, in King John: " and vast confusion waits || "(As_doth a_raven on a sickfallen beast) || "The imminent decay of wrested pomp." This is the best 1 can make of the passage. STEEVENS. = 17:) But in them it were a wonder.] So extraordinary a phænomenon as hearts remote, yet not asunder, &c. would have excited admiration, had it been found any where else except in these two birds. In them it was not wonderful. MALONE. 18:) That the turtle saw his right || Flaming in the phoenix' sight:] I suppose we should read light: 1. e. the turtle saw all the day he wanted, in the eyes of the phoenix. So, Antony speaking to Cleopatra: "--0 thou day o'the world, "Chain my arm'd neck!" Again, in The Merchant of Venice: "Bass. We should hold day with the Antipodes, "If you would walk in absence of the sun. || "Por. Let me give light, but let me not be light." STEEVENS. I do not perceive any need of change. The turtle saw those qualities which were his right, which were peculiarly appropriated to him, in the phoenix. - Light certainly corresponds better with the word flaming in the next line; but Shakspeare seldom puts his comparisons on four feet. MALONE.19:) Property was thus appall'd, || That the self was not the same;] This communication of appropriated qualities alarmed the power that presides over property. Finding that the self was not the same, he began to fear that nothing would remain distinct and individual; that all things would become common. MALONE. = 20:) To themselves yet either neither, &c.] So, in Drayton's Mortimeriados, 1596: “—— fire seem'd to be water, water flame, "Either or neither, and yet both the same." MALONE.= 21:) Love hath reason, reason none, || If what parts can so remain.] Love is reasonable, and reason is folly [has no reason], if two that are disunited from each other, can yet remain together and undivided. MALONE. = 22:) Whereupon it made this threne-] This funeral song. So, in Kendal's poems, 1577: "Of verses, threnes, and epitaphs, "Full fraught with tears of teene." A book entitled David's Threanes, by J. Heywood, was published in 1620. Two years afterwards it was reprinted under the title of David's Tears: the former title probably was discarded as obsolete. For this information I am indebted to Dr. Farmer. MALONE. By the kindness of my friend, Sir Mark Masterman Sykes, the possessor of this singularly rare volume, I was furnished with the opportunity of inspecting it, and ascertaining the accuracy with which these verses' had been reprinted. BoswELL. =

V. A LOVER'S COMPLAINT.

1:)-whose concave womb re-worded] Repeated; re-echoed. The same verb is found in Hamlet: 66 - Bring me to the test, || “And I the matter will re-word." MALONE. = 2:) Storming her world with sorrow's wind and rain.]|| So, in Julius Cæsar: "--and the state of a man, || "Like to a little kingdom, suffers then || "The nature of an insurrection." Again, in Hamlet: "- Remember thee?"Ay, thou poor ghost, while memory holds a seat || "In this distracted globe." Again, in King Lear: "Strives in his little world of man to out-scorn "The to-and-fro conflicting wind and rain." Sorrow's wind and rain are sighs and tears. Thus, in Antony and Cleopatra: "We cannot call her winds and waters, sighs and tears." The modern editions read corruptedly: "Storming her words with sorrows, wind," &c. MALONE.3:) Some beauty peep'd through lattice of sear'd age.] Thus, in the 3d Sonnet: "So thou through windows of thine age shalt see, "Despight of wrinkles, this thy golden time." Again, in Cymbeline: "-- or let her beauty "Look through a casement, to allure false hearts, || "And be false with them." In Macbeth we meet with the same epithet applied as here: " my way of life || "Is fallen into the sear, the yellow leaf." MALONE. Shakspeare has applied this image to a comic purpose in King Henry VI. Part II.: "He call'd me even now, my lord, through a red lattice, and I could discern no part of his face from the window at last I spied his eyes; and methought he had made two holes in the ale-wife's new-petticoat, and peep'd through." STEEVENS. = 4:) Which on it had conceited characters,] Fanciful images. Thus, in Tarquin and Lucrece : "Which the conceited painter drew so proud-." MALONE. 5:) Laund'ring the silken figures in the brine || That season'd woe had pelleted in tears,] So, in Tarquin and Lucrece: "Seasoning the earth with showers of silver brine." Laundering is wetting. The verb is now obsolete. To pellet is to form into pellets, to which, being round, Shakspeare, with his usual licence, compares falling tears. The word, I believe, is found no where but here and in Antony and Cleopatra: "My brave Egyptians all, || "By the discandying of this pelleted storm, "Lie graveless." In

eyes, "Seeing those beads of sorrow stand in thine, “Be-
gan to water.' Again, in King Henry IV. Part L.:
beads of sweat have trod upon thy brow." Again, in The
Two Gentlemen of Verona: "A sea of melting pearl, which
some call tears." MALONE. "Season'd woe had pelleted in
tears." This phrase is from the kitchen. Pellet was the
ancient culinary term for a forced meat ball, a well known
seasoning. STEEVENS. = b:) Sometimes her level'd eyes |
their carriage ride,] The allusion, which is to a piece of
ordnance, is very quaint and farfetched. MALONE." In The
Merchant of Venice, the eyes of Portia's picture are re-
presented as mounted on those of Bassanio: "-- Move
these eyes? Or whether, riding on the balls of mine, »
"Seem they in motion?" STEEVENS. = 7:) — her sheas'd
hat,] Her straw hat. MALONE.=8:) Of amber, crystal, and
of bedded jet,] Thus the quarto 1609. If bedded be right,
it must mean, set in some kind of metal. Our author uses
the word in The Tempest: "-- my son i'the ooze is
bedded." The modern editions read beaded jet, which
may be right; beads made of jet. The construction, I think,
is, she drew from a maund a thousand favours, of amber,
crystal, &c. MALONE. Baskets made of beads were sulf-i
ciently common even since the time of our author. I have
seen many of them. Beaded jet, is jet formed into beads.
STEEVENS. 9:) Upon whose weeping margent she was |
set, Like usury, applying wet to wet,] In King Heary VL
Part III, we meet with a similar thought: "With tearful
eyes add water to the sea, “And give more strength to
that which hath too much." These two lines are not in the
old play on which the Third Part of King Henry VI. is
formed. Again, in Romeo and Juliet: "With tears ang-
menting the fresh morning dew,|| "Adding to clouds more
clouds with his deep sighs." Again, in As You Like it:
"Thou mak'st a testament As worldings do, giving
the sum of more || "To that which hath too much." Per-
haps we should read: "Upon whose margent weeping she
was set." The words might have been accidentally trans-
posed at the press. Weeping margent, however, is, I be-
lieve, right, being much in our author's manner. Weeping
for weeped or be-weeped; the margin wetted with tears.
MALONE. To weep is to drop. Milton talks of "Groves
whose rich trees wept od'rous gums and balm." Pope speaks
of the "weeping amber," and Mortimer observes that "rye
grass grows on weeping ground," i. e. lands abounding with
wet, like the margin of the river on which this damsel is
sitting. The rock from which water drops, is likewise pee-
tically called a weeping rock: Χρή αντ' διναν πέτρες από
ΔΑΚΡΥΟΕΣΣΗΣ. STEEVENS. = = 10:) With sleided silk feat
and affectedly -] Sleided silk is, as Dr. Percy has else-
where observed, untwisted silk, prepared to be used in the
weaver's sley or slay. So, in Pericles: “Be't, when she
weav'd the sleided silk.' A weaver's sley is formed with
teeth like a comb. Feat is, curiously, nicely. MALONE =
11:) With sleided silk feat and affectedly Enswath`d, and
seal'd to curious secrecy.] To be convinced of the propriety
of this description, let the reader consult the Royal Letters,
&c. in the British Museum, where he will find that anciently
the ends of a piece of narrow ribbon were placed ascer
the seals of letters, to connect them more closely. STEE-
VENS. Florio's Italian and English Dialogues, entitled his
Second Frutes, 1591, confirm Mr. Steevens's observation. lo
p. 89, a person, who is supposed to have just written a let-
ter, calls for "some wax, some sealing thread, his dust-
box, and his seal." MALONE.=12:)—that the ruffle kner-]
Rufflers were a species of bullies in the time of Shak
speare. "To ruffle in the common wealth," is a phrase in
Titus Andronicus. STEEVENS. In Sherwood's French and
English Dictionary at the end of Cotgrave's Dictionary,
Ruffle and hurliburly are synonymous. MALONE. = 11⁄2
and had let go by The swiftest hours, &c.] Had passed
the prime of life, when time appears to move with his
quickest pace. MALONE.=14:) — this afflicted fancy — ¡ This
afflicted love-sick lady. Fancy, it has been already es
served, was formerly sometimes used in the sense of lore.
So, in A Midsummer-Night's Dream: "Sighs and tears
poor fancy's followers." MALONE. = 15:) his grained
bat,] So, in Coriolanus: "My grained ash-." His grained
bat is his staff on which the grain of the wood was visible.
STEEVENS. A bat is a club. The word is again used in
King Lear: "Ise try whether your costard or my bat be
the harder." MALONE. 16:) her suffering ecstacy—)
Her painful perturbation of mind. MALONE. = 17:)-made
him her place;] i. e. her seat, her mansion. In the sacred
writings the word is often used with this sense. STEEVINS.
So, in As You Like It: "This is no place; this house is but
a butchery." Plas in the Welch language signifies a man-
sion-house. MALONE. = 18:) What's sweet to do, to do will
aptly find:] I suppose he means, things pleasant to be done
will easily find people enough to do them. STEEVENS =
19:) -
-in paradise was sawn.] i. e. seen. This irregular
participle, which was forced upon the author by the rhyme,
is, I believe, used by no other writer. MALONE. I rather
think the word means sown, i. e. all the flowers sown in
Paradise. This word is still pronounced sawn in Scotland.
BOSWELL. The same thought occurs in King Henry V.:
"Leaving his body as a paradise." Again, in Romeo and
Juliet: "In mortal paradise of such sweet flesh." STEEVENS.
=20:) His phœnix down --] I suppose he means matchless,
rare, down. MALONE.=21:)-following where he haunted:]
Where he frequented. So, in Romeo and Juliet: “——here

in the public haunt of men." MALONE. 22:) And was my own fee-simple,] Had an absolute power over myself; as large as a tenant in fee has over his estate. MALONE. 23:) to our blood,] i. e. to our passions. MALONE.

24:)

the patterns of his foul beguiling;] The examples of his seduction. MALONE. = 25:) in others' orchards grew,] Orchard and garden were, in ancient language, synonymous. Our author has a similar allusion in his 16th Sonnet: "many maiden gardens yet unset, “With virtuous wish would bear you living flowers, Much liker than your painted counterfeit." MALONE.=26:) Knew vows were ever brokers to defiling;] So, in Hamlet: "Do not believe his vows; for they are brokers, "Meer implorators of unholy suits." STEEVENS. A broker formerly signified a pandar. MALONE. 27:) Love made them not; with acture they may be, Where neither party is nor true nor kind:] Thus the old copy. I have not found the word acture in any other place, but suppose it to have been used as synonymous with action. We have, I think, enactures in Hamlet. His offences that might be seen abroad in the world, were the plants before mentioned, that he had set in others' gardens. The meaning of the passage then should seem to be My illicit amours were merely the effect of constitution, and not approved by my reason: Pure and genuine love bad no share in them or in their consequences; for the mere congress of the sexes may produce such fruits, without the affections of the parties being at all engaged. MALONE. 28:) And lo! behold these talents of their hair, &c.] These lockets, consisting of hair platted and set in gold. MALONE. = 29:) — amorously impleach'd] Impleach'd is interwoven; the same as pleached, a word which our author uses in Much Ado About Nothing, and in Antony and Cleopatra: "Steal into the pleached bower, "Where honey-suckles ripen'd by the sun "Forbid the sun to with pleach'd arms bending down "His corrigible neck." MALONE. 30:) Whereto his invis'd properties did tend;] Invis'd for invisible. This is, I believe, a word of Shakspeare's coining. His invised properties are the invisible qualities of his mind. So, in our author's Venus and Adonis: "Had I no eyes, but ears, my ears would love || "Thy inward beauty and invisible." MALONE.= 31:) O then advance of yours that phraseless hand, | Whose white weighs down the airy scale of praise ;] So, in Romeo and Juliet: "—— they may seize || "On the white wonder of dear Juliet's hand." The "airy scale of praise" is the scale filled with verbal eulogiums.' Air is often thus used by our author. So, in Much Ado About Nothing: "Charm ache with air, and agony with words." MALONE. 32:) Which late her noble suit in court did shun,] Who lately retired from the solicitation of her noble admirers. The word suit, in the sense of request or petition, was much used in Shakspeare's time. MALONE. 33:) Whose rarest bavings made the blossoms date:] Whose accomplishments were so extraordinary that the flower of the young nobility were passionately enamoured of her. MALONE. 34:) For she was sought by spirits of richest coat,] By nobles; whose high descent is marked by the number of quarters in their coats of arms. So in our author's Tarquin and Lucrece: "Yea, though I die, the scandal will survive, || "And be an eye-sore in my golden coat. MALONE. =35;) But 0, my sweet, what labour ist to leave || The thing we have not, mastering what not strives? || Paling the place which did no form receive;] The old copy reads: "Playing the place which did no form receive, "Playing patient sports in uncon

enter"

strained gyves." It does not require a long note to prove that this is a gross corruption. How to amend it is the only question. Playing in the first line, 1 apprehend, was a misprint for paling; the compositor's eye I suppose glanced upon the second line, and caught the first word of it instead of the first word of the line he was then composing. The lover is speaking of a nun who had voluntarily retired from the world. But what merit (he adds,) could she boast, or what was the difficulty of such an action? What labour is there in leaving what we have not, i. e. what we do not enjoy, or in restraining desires that do not agitate our breast? "Paling the place," &c. securing within the pale of a cloister that heart which had never received the impression of love, When fetters are put upon as by our consent, they do not appear irksome, &c. Such is the meaning of the text as now regulated. In Antony and Cleopatra the verb to pale is used in the sense of to hem in: "Whate'er the ocean pales, or sky inclips, "Is thine, if thou wilt have it." The word form, which I once suspected to be corrupt, is undoubtedly right. The same phraseology is found in Tarquin and Lucrece: "--the impression of strange kinds "Is form'd in them, [women,] by force, by fraud, or skill." It is also still more strongly supported by the passage quoted by Mr. Steevens from Twelfth Night. MALONE. I do not believe there is any corruption in the words "did no form receive," as the same expression occurs again in the last stanza bút three: "— — a plenitude of subtle matter, "Applied to cautels, all strange forms receives." Again, in 'Twelfth Night: "How easy is it for the proper false "In women's waxen hearts to set their forms? STEEVENS. 36:) My parts had power to charm a sacred sun,] Perhaps the poet wrote: a sacred nun.'

If sun be right, it must mean, the brightest luminary of the cloister. So, in King Henry VIII.: "- When these suns "For so they phrase them) by their heralds challeng'd "The noble spirits to arms, they did perform || "Beyond thought's compass." MALONE. In Coriolanus, the chaste Valeria is called "the moon of Rome." STEEVENS. = 87:) Love's arms are peace, 'gainst rule, &c.] I suspect our author wrote: "Love's arms are proof 'gainst rule, &c. The meaning, however, of the text as it stands, may be The warfare that love carries on against rule, sense, &c. produces to the parties engaged a peaceful enjoyment, and sweetens, &c. The construction in the next line is perhaps irregular. Love's arms are peace, &c. and love sweetens -. MALONE. Perhaps we should read: “Love aims at peace

"Yet sweetens," &c. STEEVENS. 38:)-gate the glowing roses || That flame-] That is, procured for the glowing roses in his cheeks that flame, &c. Gate is the ancient perfect tense of the verb to get. MALONE. = 39:) 0 cleft effect!] O divided and discordant effect! O cleft, &c. is the modern correction. The old copy has- Or cleft effect, from which it is difficult to draw any meaning. MALONE. =40:) and civil fears;] Civil formerly signified grave, decorous. So, in Romeo and Juliet:

Come, civil night, "Thou sober-suited matron all in black." MALONE. =41:) Applied to cautels,] Applied to insidious purposes, with subtilty and cunning. So, in Hamlet: "Perhaps he loves you now; "And now no soil of cautel doth besmirch "The virtue of his will." MALONE. = 42:) that borrow'd motion, seeming ow'd,] That passion which he copied from others so naturally that it seemed real and his own. Ow'd has here, as in any other places in our author's works, the signification of owned. MALONE. =

ABATE: to depress, sink, subdue.
ABC-book: a catechism.
Abjects: servile persons.
Able: to qualify or uphold.
Abortive: issuing before its time.
Absolute: highly accomplished,||
perfect.

Abused: deceived.
Aby: to pay dear for.

Abysm: abyss.

Accuse: accusation.

Achieve: to obtain.

Acquittance: requital.

charge or accusation.

Ames-ace: the lowest chance of || Astringer: a falconer.

the dice.

Amort: sunk and dispirited.

An: as if.

Anchor: anchoret.
Ancient: an ensign.
Anight: in the night.
Answer: retaliation.
Anthropophaginian: a cannibal.
Antic: the fool of the old farces.
Antiquity: old age.

Antres: caves and dens.
Apparent: seeming, not real, heir-
apparent, or next claimant.
Appeal: to accuse.

Action: direction by mute signs, Appeared: rendered apparent.

Action-taking: litigious.

Additions: titles or descriptions.
Address: to make ready.
Addressed, or addrest: ready.
Advance: to prefer, to raise to
honour.

Adversity: contrariety.
Advertisement: admonition.
Advertising: attentive.
Advice: consideration, discretion,
thought.

Advise: to consider, recollect.
Advised: not precipitant, cool,

Apply: to attend to, consider.
Appointment: preparation.
Apprehension: opinion.
Apprehensive: quick to understand.
Approbation: entry on probation,
proof.

Approof: proof, approbation.
Approve: to justify, to make good,
to establish, to recommend to
approbation.

Approved: felt, experienced, con-
victed by proof.
Approvers: persons who try.
Aqua-vita: strong waters.
Arbitrate: to determine.
Arch: chief.
Argentine: silver.
Argier: Algiers.
Argosies: ships of great burthen,
galleons.
Argument: subject for conver-
sation, evidence, proof.
Arm: to take up in the arms.
Aroint: avaunt, be gone.
A-row: successively, one after
another.

Ates: instigation, from Ate, the mischievous goddess that incites bloodshed.

Atomies: minute particles discernible in a stream of sunshine that breaks into a darkened room, atoms.

Atone: to reconcile.

Attasked: reprehended, corrected.
Attended: waited for.
Attent: attentive.

Attorney: deputation.
Attorneyship: the discretional
agency of another.
Attornied: supplied by substitu
tion of embassies.
Attributive: that which attributes
or gives.

Avaunt: contemptuous dismission
Averring: confirming.

Audacious: spirited, animated.
Audrey: a corruption of Ethel

dreda.

Augurs: auguries or prognostica

Art: practice as distinguished from
theory, theory.
Articulate: to enter into articles.
Articulated: exhibited in articles. || Bans: curses.
Artificial: ingenious, artful.
As: as if.
Aspect: countenance.
Aspersion: sprinkling.
Assay: test.

Assinego: a he-ass.

Assurance: conveyance or deed.
Assured: affianced.

Bar: barrier.

Barbed: caparisoned in a warlike

manner.

Barful: full of impediments.
Barm: yeast.

Barn or bairn: a child.
Barnacle: a kind of shell fish.
Base: dishonoured.

Base: a rustic game called pri-
son-base.

Bases: a kind of dress used by
knights on horseback.
Basilisks: a species of cannon.
Basta: Spanish, 'tis enough.
Bastard: raisin wine.
Bat: a club or staff.
Bate: strife, contention.
Bate: to flutter as a hawk.
Batlet: an instrument used by
washers of clothes.

Patten: to grow fat.
Battle: army.
Bavin: brushwood.
Bawcock: a jolly cock.
Bay: the space between the main

beams of a roof.
Bay-window: bow window, one
in a recess.

Beak: the forecastle, or the boltsprit.

Beard: to oppose in a hostile

manner, to set at defiance. Bearing: carriage, demeanour. Bearing-cloth: a mantle used at christenings.

Beat: in falconry, to flutter.
Beating

upon.

hammering, dwelling

Beaver: helmet in general.

Beck: a salutation made with the

bead.

Becomed: becoming.

Beetle to hang over the base.
Being: abode.

Belongings: endowments.
Be-mete: be-measure.
Be-moiled: be-draggled, be-mired.
Bending: unequal to the weight.
Benefit: beneficiary.
Bent: the utmost degree of any
passion.

Brush: detrition, decay.

Buckle: to bend, to yield to pres

sure.

Bugs: bugbears, terrors.
Bulk: the body.

Bumbard. See Bombard.
Bunting: a bird outwardly like a
skylark.

Burgonet: a kind of helmet.
Burst: broken.

Bury: to conceal, to keep secret.
Bush: the sign of a public-house.
Busky: woody. See Bosky.
But: only, unless, except.
Butt shaft: an arrow to shoot at
butts with.

Buxom: obedient, under good
command.

By: according to, by means of. By'rlakin: by our ladykin or little lady.

Caddis: : a narrow worsted galloon.

Bore: the caliber of a gun, the Cade: a barrel.

capacity of the barrel.

Bores: stabs or wounds.

Bosky: woody.

Bosom: wish, heart's desire.

Cage: a prison.

Cadent: falling.

Cain-coloured: yellow.

Calculate: to foretell or prophesy.

Bots: worms in the stomach of a Caliver: a species of musket.

horse.

Bourn: boundary, rivulet.
Bow: yoke.

Brace: armour for the arm, state
of defence.

Braid: crafty or deceitful.
Brake:

: a thicket, furze-bush.
Brave: to make fine or splendid.
Bravery: showy dress.
Brawl: a kind of dance.
Breach: of the sea, breaking of
the sea.

Benumbed: inflexible, immoveable. Breast: voice, surface.
Beshrew: ill befall.
Best: bravest.

Bestowed: left, stowed or lodged.
Bestraught: distraught or dis-
tracted.

Beteem: to give, to pour out, to
permit or suffer.
Bewray: betray, discover.
Bezonian: a term of reproach.
Bid: to invite, to pray.
Biding: place, abiding.
Bigging: a kind of cap.
Bilberry: the whortleberry.
Bilbo: a Spanish blade of peculiar
excellence.

Bilboes: a species of fetters.
Bill: a weapon carried by watch-
men; articles of accusation.
Bird bolt: a species of arrow.
Bisson: blind.

Blank: the white mark at which

an arrow is shot.

Blast: burst.

Blear: to deceive.

Blench: to start off.

Blent: blended, mixed.

Blind-worm: the slow-worm.

Breath: breathing, voice.
Breathe: to utter.

Call: to visit.

Callet: a lewd woman.
Calling: appellation.
Calm: qualm.

Canary: a sprightly nimble dance.
Cantle-waisters: those who sit up
all night to drink.
Canker: the dog-rose.

Canstick:
: candlestick.

Cantel or Cantle: a corner or piece
of any thing.
Cantons: cantos.
Canvas: to sift.

Canvas-climber: a sailor who
climbs to adjust the sails.

Breathed: inured by constant Cap: the top. the principal.
practice.

Breathing: complimentary.
Breeching: liable to school-boy
punishment.

Bridal: the nuptial feast.
Brief: a short account, letter, or

Blistered: puffed out like blisters. || Bruited: reported with clamour.

Cap: to salute by taking off the

cap.

Capable: perceptible, intelligent,
quick of apprehension, ample,
capacious.

Capon: metaphor for a letter.
Capitulate: to make head.
Capricious: lascivious.

Captious: capacious or recipient.
Carack: a ship of great bulk.
Carbonadoed: scotched like meat
for the gridiron.

Card: perhaps a sea-chart.
Care: to make provision, to take

care,

Care: inclination.

Careires: the motion of a horse.

Carkanet: necklace or chain.

Carl: clown or husbandman.
Carlot: peasant.

Carper: a critic.

Carriage: import.

Carried: conducted or managed.
Carry: to prevail over.
Cart: a chariot.

Case: contemptuously for skin, out- || Childing: unseasonably pregnant. || Commanty: a comedy.

side-garb.

Case: to strip naked.
Casques: helmets.

Cassock: a horseman's great-coat.
Cast: to empty, as a pond, to
dismiss, or reject.
Cast: cast up, reckoned.
Castilian: an opprobrious term.
Castiliano vulgo: a cant term, of
contempt.

Cataian: some kind of sharper. Catling: a small lute-string made

of catgut.

Cavaleroes: airy, gay fellows. Caviare: a delicacy made of the

roe of sturgeon. Cautelous: insidious, cautious. Cease: to decease, die, stop. Censure: judgment, opinion. Censure: to judge. Censured: sentenced, estimated.

Ceturies: companies of an hun

dred men each. Ceremonies: honorary ornaments, tokens of respect. Ceremonious: superstitious. Certes: certainly, in truth. Cess: measure.

Chace: a term at tennis.
Chair: throne.

Chamber: ancient name for London.
Chamber: a species of great gun.
Chamberers: inen of intrigue.
Champian: an open country.
Chance: fortune.
Changeling: a child changed.
Channel: a kennel.
Character: description, hand-writ-
ing.
Character; to write, to infix
strongly.

Charactery: the matter with which
letters are made.
Chares; task-work.
Charge: to put to expence.
Charge: commission, employment.
Charge house: the free-school.
Chariest: most cautious.
Chariness: caution.
Charitable: dear, endearing.
Charles's-wain: the constellation
called the Bear.
Charneco: a sort of sweet wine.
Charter: a privilege.
Chaudron: entrails.

Clack-dish: a beggar's-dish.
Claw: to flatter.

Clear: pure, blameless, innocent,
quite, fully, perfectly.
Clearest: purest, freest from evil.
Clear story: a species of windows
in a church, &c.
Cleave: to unite with closely.
Clerkly: like a scholar.
Cliff: a key in music.
Cling: to shrink or shrivel up.
Clinquant: glittering, shining.
Clip: to embrace, to infold.
Closely secretly, privately.
Clout: the white mark at which
archers take aim.

Clown: a licensed jester in families.
Clubs: a popular cry on a street
quarrel.
Clutched: grasped.
Coach-fellow: one who draws with

a confederate.

Collection: corollary, consequence. Cheater: escheatour, an officer in Collied: black, smutted with coal.

the exchequer, a gamester. Check: command, controul. Check: to object to, to rebuke. Checks: probably for ethicks. Cheer: countenance. Cherry-pit: a play with cherry

stones.

Cheveril: soft or kid leather. Chew: to ruminate, consider. Chewet: a noisy chattering bird. Chide: to resound, to echo, to scold, to be clamorous.

Chiding: sound.
Chiding: noisy.

Child: a female infant.

Collier: formerly a term of the
highest reproach.
Colour: pretence.
Colourable: specious.
Colours: appearances, deceits.
Colt: to fool, to trick.
Co-mart: a joint bargain.
Combinate: betrothed.
Combine: to bind.

Combined: bound by agreement.
Comforting: aiding.
Commence to give a beginning.
Commended: committed.
Commission: authority, power.
Commodity: interest, profit.

Compassed: round.
Compassionate: plaintive.
Competitors: confederates or a
sociates.

Complements: accomplishments.
Complexion: humour.
Comply: to compliment.
Compose: to come to a compe
sition.

Composition: contract or bargain
consistency, concordancy.
Composture: composition, com
post.
Comptible: submissive.
Con: to know.
Conceit:
thought.
Concent: connected harmony
general.

fanciful conception,

Conclusion: determination, resslution.

Conclusions: experiments. Concupy: concupiscence. Condition: temper, character, qu lities, art, vocations or icinations.

Condolement: sorrow.
Conduct: conductor.
Coney-catched: deceived, cheated
Coney-catcher: a cheat or sharper
Confession: profession.
Conject: conjecture.
Conjecture: suspicion.
Confound: to destroy, to expend

to consume.

Confounded: worn or wasted.
Consent; to agree.
Consent: conspiracy, will, assent,
united voice..

Consigned: sealed.
Consist: to stand upon.

Consort: company.
Consort: to keep company with
Constancy: consistency, stabuity
Constant: firm, determined.
Constantly: certainly, with
fluctuation.
Contemptible: contemptuous,
Continent: the thing which c
tains.

Continents: banks of rivers.
Continuate: uninterrupted.
Contraction: marriage contract.
Contrarious; different.
Contrive: to spend and wear out
Control: to confute.
Convent: to serve or agree.
Convented; cited, summoned.
Conversation: familiar intercourse.
conduct, behaviour.
Converse: interchange.
Conversion: change of condities
Convertite: convert.

Convey: to perform slight of hand, to manage artfully.

« Önceki Devam »

Kitaplar

The Plays and Poems of William Shakespeare: Accurately Printed from the Text ...