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To see the making of her carkanet, 3
And that to-morrow you will bring it home.
But here's a villain, that would face me down
He met me on the mart; and that I beat him,
And charg'd him with a thousand marks in gold;
And that I did deny my wife and house:-
Thou drunkard, thou, what didst thou mean by this?
Dro. E. Say what you will, sir, but I know what I

know: That you beat me at the mart, I have your hand to show: If the skin were parchment, and the blows you gave

were ink,
Your own handwriting would tell you what I think.

Ant. E. I think, thou art an ass.
Dro. E.

Marry, so it doth appear By the wrongs I suffer, and the blows I bear. 4

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carkanet,] Seems to have been a necklace, or rather chain, perhaps hanging down double from the neck. So, Lovelace, in his poem :

The empress spreads her carcanets.” Johnson. Quarquan, ornement d'or qu’on mit au col des damoiselles."

Le grand Dict. de Nicot. A carkanet seems to have been a necklace set with stones, or strung with pearls. Thus, in Partheneia Sacra, &c 1633: “ Seeke not vermillion or ceruse in the face, bracelets of oriental pearls on the wrist, rubie carkanets on the neck, and a most exquisite fan of feathers in the band.” Again, in Histriomastix, or the Player whipt, 1610:

“ Nay, I'll be matchless for a curcanet,

Whose pearls and diamonds plac'd with ruby rocks

- Shall circle this fair neck to set it forth." Again, in Sir W. D’Avenant's comedy of The Wits, 1636:

she sat on a rich Persian quilt Threading a carkanet of pure round pearl

“ Bigger than pigeons eggs Again, in The Changes, or Love in a Maze, 1632:

the drops “ Shew like a carkanet of pearl upon it.”. In the play of Soliman and Perseda, 1599, the word carcănet occurs eight or nine times. Steevens.

Marry, so it doth appear

By the wrongs I suffer, and the blows I bear.] Thus all the printed copies, but, certainly, this is cross-purposes in reasoning. It appears, Dromio is an ass by his making no resistance ; because an ass, being kicked, kicks again. Our author never argues at this wild rate, where his text is genuine. Theobalita

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I should kick, being kick'd; and, being at that pass, You would keep from my heels, and beware of an ass. Ant. E. You are sad, signior Balthazar: 'Pray God,

our cheer May answer my good will, and your good welcome here. Bal. I hold your dainties cheap, sir, and your wel

come dear. Ant. E. O, signior Balthazar, either at flesh or fish, A table full of welcome makes scarce one dainty dish. Bal. Good meat, sir, is common; that every churl

affords. Ant. E. And welcome more common; for that's no

thing but words. Bal. Small cheer, and great welcome, makes a merry

feast. Ant. E. Ay, to a niggardly host, and more sparing

guest: But though my cates be mean, take them in good part; Better cheer may you have, but not with better heart. But, soft; my door is lock’d; Go bid them let us in.

Dro. E. Maud, Bridget, Marian, Cicely, Gillian, Jen'! Dro. S. [within] Mome,5 malt-horse, capon, coxcomb,

idiot, patcli! Either get thee from the door, or sit down at the hatch;

Mr. Theobald, instead of doth, reads--don't. Malone.

I do not think this emendation necessary. He first says, that his

wrongs and blows prove him an ass; but immediately, with a correction of his former sentiment, such as may be hourly observed in conversation, he observes that, if he had been an ass, he should, when he was kicked, have kicked again. Fohnson.

5 Mome, ) A dull stupid blockhead, a stock, a post. This owes its original to the French word Mumon, which signifies the gaming at dice in masquerade, the custom and rule of which is, that a strict silence is to be observed: whatever sum one stakes, another covers, but not a word is to be spoken. From hence also comes our word mum! for silence. Hawkins. So, in Heywood's Rape of Lucrece, 1630:

Important are th' affairs we have in hand; “ Hence with that Mome.!

Brutus, forbear the presence.” Steevens. - patch!] i. e. fool. Alluding to the parti-coloured coats worn by the licensed fools or jestets of the age. So, in Macbeth:

what soldiers, patch ?See notes on A Midsummer Night's Dream, Act III, sc. ii, and The Merchant of Venice, Act I, sc. i. Steevens.

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Dost thou conjure for wenches, that thou call'st for such

store, When one is one too many? Go, get thee from the door. Dro. E. What patch is made our porter? My master

stays in the street. Dro. S. Let him walk from whence he came, lest he

catch cold on 's feet. Ant. E. Who talks within there? ho, open the door. Dro. S. Right, sir, I'll tell you when, ‘an you 'll tell

me wherefore. Ant. E. Wherefore? for my dinner; I have not din'd

to-day. Dro. S. Nor to-day here you must not; come again,

when you may. Ant. E. What art thou, that keep'st me out from the house

owe?7 Dro. S. The porter for this time, sir, and my name

is Dromio. Dro. E. O villain, thou hast stolen both mine office

and my nane; The one ne'er got me credit, the other mickle blame. If thou had'st been Dromio to-day in my place, Thou would'st have chang'd thy face for a name, or thy

name for an ass. Luce. [within] What a coil is there! Dromio, who are

those at the gate? Dro. E. Let my master in, Luce. Luce.

Faith B; he comes too late; And so tell your master. Dro. E.

O Lord, I must laugh:Have at you with a proverb.Shall I set in my staff?

Luce. Have at you with another: that 'sWhen? can

you tell?

Dro. S. If thy name be called Luce, Luce, thou hast

answer'd him well. Ant. E. Do you hear, you minion? you 'll let us in,

I hope ?8

I owe?] i.e. I own, am owner of. So, in The Four Pren. tices of London, 1615:

“ Who owes that shield?
“I:-and who owes that?" Steevens.

- I hope ?] A line either preceding or following this has, I believe, been lost. Mr. Theobald and the subsequent editors

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Luce. I thought to have ask'd you.
Dro. s.

And you said, no. Dro. E. So, come, help; well struck; there was blow

for blow.
Ant. E. Thou baggage, let me in.
Luce.

Can
you

tell for whose sake? Dro. E. Master, knock the door hard. Luce.

Let him knock till it ake. Ant. E. You 'll cry for this, minion, if I beat the door

down. Luce. What needs all that, and a pair of stocks in the

town? Adr. [within] Who is that at the door, that keeps

all this noise? Dro. S. By my troth, your town is troubled with un

ruly boys. Ant. E. Are you there, wife? you might have come

before. Adr. Your wife, sir knave! go, get you from the door. Dro. E. If you went in pain, master, this knave would

go sore.

Ang. Here is neither cheer, sir, nor welcome; we

would fain have either. Bal. In debating which was best, we shall part with

neither. 9 Dro. E. They stand at the door, master; bid them

welcome hither.

read-I trow; but that word, and hope, were not likely to be confounded by either the eye or the ear. Malone.

The text, I believe, is right, and means-I expect you 'll let us in. To hope, in ancient language, has sometimes this signification. So, in Antony and Cleopatra:

I cannot hope “ Cæsar and Antony shall well greet together.” Again, in Chaucer's Reve's Tale, v. 4027:

“Our manciple I hope he wol be ded.” Steevens. - we shall part with neither.] In our old language, to part signified to have part. See Chaucer, Canterbury Tales, ver. 9504:

“ That no wight with his blisse parten shall.” The French use partir in the same sense.

Tyrwhitt. Tyrwhitt mistakes the sense of this passage.

To part does not signify to share or divide, but to depart or go away; and Bal. thazar means to say, that whilst debating which is best, they. should go away without either. M. Mason.

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sir;

Ant. E. There is something in the wind, that we can

not get in. Dro. E. You would say so, master, if your garments

were thin. Your cake here is warm within; you stand here in the

cold: It would make a man mad as a buck, to be so bought

and sold. 1 Ant. E. Go, fetch me something, I'll break ope the

gate. Dro. S. Break any breaking here, and I 'll break your

knave's pate. Dro. E. A man may break a word with

you,

and words are but wind; Ay, and break it in your face, so he break it not behind. Dro. S. It seems, thou wantest breaking; Out upon

thee, hind! Dro. E. Here's too much, out upon thee! I pray

thee, let me in. Dro. S. Ay, when fowls have no feathers, and fish

have no fin. Ant. E. Well, I'll break in; Go, borrow me a crow. Dro. E. A crow without a feather; master, mean you

so? For a fish without a fin, there's a fowl without a feather: If a crow help us in, sirrah, we'll pluck a crow together.?

Ant. d. Go, get thee gone, fetch me an iron crow.

Bal. Have patience, sir; 0, let it not be so;
Herein you war against your reputation,
And draw within the compass of suspect

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bought and sold.] This is a proverbial phrase. “To be bought and sold in a company.” See Ray's Collection, p. 179, edit. 1737. Steevens.

we'll pluck a crow together.] We find the same quibble on a like occasion in one of the comedies of Plautus.

The children of distinction among the Greeks and Romans had u sually birds of different kinds given them for their amusement. This custom Tyndarus, in The Captives, mentions, and says, that for his part he had

tantum upupam." Upupa signifies both a lapwing and a mattock, or some instru. ment of the same kind, employed to dig stones from the quarries.

Steedens. VOL. VI.

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