TAI. I have.

GRU. Face not me: thou haft braved many men; 3 brave not me; I will neither be faced nor braved. I fay unto thee,-I bid thy mafter cut out the gown; but I did not bid him cut it to pieces: ergo, thou lieft.

TAI. Why, here is the note of the fashion to teftify.

PET. Read it.

GRU. The note lies in his throat, if he say I said so. TAI. Imprimis, a loofe-bodied gown:

GRU. Mafter, if ever I faid loofe-bodied gown,' few me in the fkirts of it, and beat me to death with a bottom of brown thread: I faid, a gown. PET. Proceed.

TAI. With a fmall compass'd cape;"

3 braved many men ;] i. e. made many men fine. Bravery was the ancient term for elegance of drefs. STEEVENS.

4 but I did not bid him cut it to pieces:] This fcene appears to have been borrowed from a story of Sir Philip Caulthrop, and John Drakes, a filly fhoemaker of Norwich, which is related in Leigh's Accidence of Armorie, and in Camden's Remaines. Douce.

5- loose-bodied gown,] I think the joke is impair'd, unless we read with the original play already quoted-a loose body's gown. It appears, however, that lo fe-bodied gowns were the drefs of harlots. Thus, in The Michaelmas Term, by Middleton, 1607: "Doft dream of virginity now? remember a loose-bodied gown, wench, and let STEEVENS.

it go.

See Dodfley's Old Plays, Vol. III. p. 479, edit. 1780. REED. 6 — a small compafs'd cape;] A compass'd cape is a round cape. To compass is to come round. JOHNSON.

Thus, in Troilus and Creffida, a circular bow window is called a-compaffed window.

Stubbs, in his Anatomy of Abuses, 1565, gives a moft elaborate defcription of the gowns of women; and adds, "Some have capes reaching down to the midft of their backs, faced with velvet, or

GRU. I confefs the cape.
TAI. With a trunk fleeve ;-
GRU. I confefs two fleeves.
TAI. The fleeves curiously cut.
PET. Ay, there's the villainy.

GRU. Error i'the bill, fir; error i'the bill. I commanded the fleeves fhould be cut out, and fewed up again; and that I'll prove upon thee, though thy little finger be armed in a thimble.

TAI. This is true, that I fay; an I had thee in place where, thou shoud'st know it.

GRU. I am for thee ftraight: take thou the bill," give me thy mete-yard, and fpare not me.

HOR. God-a-mercy, Grumio! then he fhall have no odds.

PET. Well, fir, in brief, the gown is not for me. GRU. You are i'the right, fir; 'tis for my mistress. PET. Go, take it up unto thy master's use. GRU. Villain, not for thy life: Take up my mistress' gown for thy mafter's ufe!

PET. Why, fir, what's your conceit in that?

elfe with fome fine wrought taffata, at the leaft, fringed about, very bravely." STEEVENS.

So, in the Regifter of Mr. Henflowe, proprietor of the Rofe theatre, (a manufcript of which an account has been given in Vol. II: " 3 of June 1594. Lent, upon a womanes gowne of villet in grayne, with a velvet cape imbroidered with bugelles, for Xxxvis." MALONE.

7 take thou the bill,] The fame quibble between the written bill, and bill the ancient weapon carried by foot-foldiers, is to be met with in Timon of Athens. STEEVENS.

8thy mete-yard,] i. e. thy measuring-yard. So, in The Mijeries of Inforc'd Marriage, 1607:

"Be not a bar between us, or my fword
"Shall meie thy grave out." STEEVENS.

GRU. Q, fir, the conceit is deeper than you think

for:

Take up my miftrefs' gown to his master's ufe!
O, fie, fie, fie!

PET. Hortenfio, fay thou wilt fee the tailor

paid :

:

[Afide.

Go take it hence; be gone, and fay no more.

HOR. Tailor, I'll pay thee for thy gown to-morrow. Take no unkindness of his hafty words:

Away, I fay; commend me to thy master.

[Exit Tailor.

PET. Well, come, my Kate; we will unto your

father's,

Even in these honeft mean habiliments;

Our purses shall be proud, our garments poor:
For 'tis the mind that makes the body rich;
And as the fun breaks through the darkest clouds,
So honour peereth in the meanest habit.
What, is the jay more precious than the lark,
Because his feathers are more beautiful?
Or is the adder better than the eel,
Because his painted fkin contents the eye?
O, no, good Kate; neither art thou the worfe
For this poor furniture, and mean array.
If thou account'ft it fhme, lay it on me:
And therefore, frolick; we will hence forthwith,
To feaft and fport us at thy father's house.-
Go, call my men, and let us ftraight to him;
And bring our horfes unto Long-lane end,
There will we mount, and thither walk on foot.—
Let's fee; I think, 'tis now fome feven o'clock,
And well we may come there by dinner time.
KATH. I dare affure you, fir, 'tis almost two;
And 'twill be fupper time, ere you come there.
PET. It fhall be feven, ere I go to horfe:

Look, what I fpeak, or do, or think to do,
You are still croffing it.-Sirs, let't alone:
I will not go to-day; and ere I do,

It fhall be what o'clock I fay it is.

HOR. Why, fo! this gallant will command the fun.

[Exeunt.

Enter TRANIO, and the Pedant dressed like VINCENTIO.

2

TRA. Sir, this is the house; Please it you, that I

call?

PED. Ay, what elfe? and, but I be deceived,' Signior Baptifta may remember me, Near twenty years ago, in Genoa, where

We were lodgers at the Pegasus,*

8 Exeunt.] After this exeunt, the characters before whom the play is fuppofed to be exhibited, have been hitherto introduced from the original so often mentioned in the former notes. "Lord. Who's within there?

"Enter Servants.

Afleep again! go take him eafily up, and put him in his own apparel again. But fee you wake him not in any cafe.

Serv. It fhall be done, my lord; come help to bear him [They bear off Sly. STEEVENS.

hence."

9 I cannot but think that the direction about the Tinker, who is always introduced at the end of the acts, together with the change of the scene, and the proportion of each act to the rest, make it probable that the fifth act begins here. JOHNSON.

2 Sir, this is the boufe ;] The old copy has-Sirs. Corrected by Mr. Theobald. MALONE.

3

-but I be deceived,] But, in the prefent inftance, fignifies, without, unless. So, in Antony and Cleopatra:

"But being charg'd, we will be still by land." STEEVENS. We were lodgers at the Pegafus.] This line has in all the editions hitherto been given to Tranio. But Tranio could with no pro

TRA.

'Tis well;

And hold your own, in any cafe, with fuch
Aufterity as 'longeth to a father.

Enter BIONDELLO.

PED. I warrant you: But, fir, here comes your boy; 'Twere good, he were school'd.

TRA. Fear you not him. Sirrah, Biondello, Now do your duty throughly, I advise you; Imagine 'twere the right Vincentio.

BION. Tut! fear not me.

TRA. But haft thou done thy errand to Baptifta?

BION. I told him, that your father was at Venice; And that you look'd for him this day in Padua. TRA. Thou'rt a tall fellow; hold thee that to drink. Here comes Baptifta:-fet your countenance, fir.

Enter BAPTISTA and LUCENTIO.

Signior Baptifta, you are happily met:-
Sir, [To the Pedant.]

This is the gentleman I told you of;

priety fpeak this, either in his affumed or real character. Lucentio was too young to know any thing of lodging with his father, twenty years before at Genoa: and Tranio mult be as much too young, or very unfit to reprefent and perfonate Lucentio. I have ventured to place the line to the Pedant, to whom it must certainly belong, and is a fequel of what he was before faying. THEOBALD.

Shakspeare has taken a fign out of London, and hung it up in Padua:

"Meet me an hour hence at the fign of the Pegafus in Cheapfide." Return from Parnaffus, 1606.

Again, in The Jealous Lovers, by Randolph, 1632:

"A pottle of elixir at the Pegafus,

"Bravely carous'd, is more rettorative."

The Pegafus is the arms of the Middle-Temple; and, from that circumftance, became a popular fign. STEEVENS.

› Enter Baptista and Lucentio.] and (according to the old copy) Pedant, booted and bareheaded. RITSON,