FOOTNOTES:
[97] "Rosemary," as Mr Steevens observes (note to "Hamlet," act iv. sc. 5), "was anciently supposed to strengthen the memory; and was not only carried at funerals, but worn at weddings." See the several instances there quoted. Again, in Dekker's "Wonderful Yeare," 1603: "Heere is a strange alteration; for the rosemary that was washt in sweet water to set out the bridall, is now wet in teares to furnish her buriall."
Again, in "The Old Law," act iv. sc. 1: "Besides, there will be charges saved, too; the same rosemary that serves for the funeral will serve for the wedding."
And in "The Fair Quarrell," act v. sc. 1—
"Phis. Your Maister is to bee married to-day.
Trim. Else all this rosemaries lost."
It appears also to have been customary to drink wine at church, immediately after the marriage ceremony was performed. So in Dekker's "Satiro-mastix:" "And, Peter, when we are at church, bring wine and cakes." At the marriage of the Elector Palatine with the Princess Elizabeth, daughter of James the First, it is said, "In conclusion, a joy pronounced by the king and queen, and seconded with congratulations of the lords there present, which crowned with draughts of Ippocras, out of a great golden bowle, as a health to the prosperitie of the marriage (began by the Prince Palatine, and answered by the Princess), after which were served up by six or seaven barons, so many bowles filled with wafers, so much of that worke was consummate."—Finett's "Philoxenis," 1656, fol. 11.
[98] [Old copy, on't.]
[99] The old copy reads Sir Nicholas Nemo and his words, but the sense seems to require that it should be Sir Nicholas Nemo and his wards, or watchmen or spies.—Collier.
[100] [See "Old English Jest-Books," ii. 217-18.]
[101] [Equivalent to our modern phrase, tag, rag, and bobtail. The original signification seems to have been descriptive of the different kinds of horses, cuts, curtails, and longtails, and hence it came to mean generally all sorts and kinds, like the modern term. Compare Dyce's "Shakespeare Glossary," 1868, in v.] This phrase occurs in "The Merry Wives of Windsor," act iii. sc. 4. Steevens says the origin of it was from Forest Laws, by which the dog of a man who had no right to the privilege of chase, was obliged to be cut or lawed; and amongst other modes of disabling him, one was by depriving him of his tail. Cut and long tail therefore signified the dog of a clown and the dog of a gentleman. [Reed (more correctly) remarks:] "Cut and long tail, I apprehend referred originally to horses, when their tails were either docked, or left to grow their full length; and this distinction might formerly be made according to their qualities and values. A horse therefore used for drudgery might have his tail cut, while the tails of those which served for pomp or show, might be allowed their utmost growth. A cut appears to have been the term used for a bad horse in many contemporary writers, and from thence to call a person cut became a common opprobrious word employed by the vulgar, when they abused each other. See note to 'Gammer Gurton's Needle' [iii. 211.] In confirmation of this idea, it may be added, that Sim says in the text, Some horse taught him that, which naturally introduces the phrase cut and long tail into the Constable's answer. The words cut and long tail occur also in 'The Return from Parnassus,' act iv. sc. 1: 'As long as it lasts, come cut and long tail, we'll spend it as liberally for his sake.' There seems no doubt that cut and long tail has reference to horses. Sir J. Vanbrugh, in his 'Æsop,' so employs the phrase: the groom says, 'Your worship has six coach horses, cut and long tail, two runners, half a dozen hunters,' &c."—Collier.
[102] Their entrance is not mentioned in the 4o.—Collier.
[103] i.e., Ideal ones, like the Utopian schemes of government.—Steevens.
[104] See note to "The Heir," [xi. 535.]
[105] This elegant song was the production of our great poet Shakespeare. It is printed in his collection of sonnets, entitled "The Passionate Pilgrim." The reader may likewise see it in "Percy's Reliques of Antient Poetry," vol. i. p. 259.
[106] The same phrase occurs in Shakespeare's "Winter's Tale," act i. sc. 2, where Leontes says to Mamillius—
"Mine honest friend,
Will you take eggs for money?"
Dr Johnson says that it seems to be a proverbial expression used when a man sees himself wronged and makes no resistance; and Mr Smith is of opinion that it means Will you put up affronts? In the present instance it seems intended to express the speaker's fears that he shall receive nothing in return for his money.
[107] These lines seem intended as a parody on the beginning of the old song called "The Spanish Lady's Love." See Percy's "Reliques," vol. ii. p. 233. An English Flag means the Ancient; a name which was formerly used as synonymous to Ensign.
[108] i.e., Wine of Alicant. [But Sim means to dissuade them from bloodshed, as there is red wine already in the house.]
[109] [See Nares, edit. 1859, in v. Bayard meant originally a bay horse, and afterward any kind or colour.]
[110] This tune is mentioned in "Eastward Hoe," 1605. In Gascoigne's works, 1587, fol. 278, is the following line—
"I wept for woe, I pin'd for deadly paine."
[111] Mr Reed transferred this exclamation to Alexander, but it is just as probably what old Bloodhound says, and the old copy gives it to him.—Collier.
[112] [This word has been already explained more than once.]
[113] The 4o has it, Where vicious ends prepose, and in the next line but one virtuous lovers are called virtue's lovers. The last may be right.—Collier.
[THE CITY NIGHTCAP.]
EDITION.
The City Night-Cap: Or, Crede quod habes, & habes. A Tragi-Comedy. By Robert Davenport. As it was Acted with great Applause, by Her Majesties Servants, at the Phœnix in Drury-Lane. London: Printed by Ja: Cottrel, for Samuel Speed, at the Signe of the Printing-Press, in St. Paul's Church-yard. 1661. 4o.