[P. 1, l. 14]. Trenchmore.]—a boisterous sort of dance to a lively tune in triple time.
[P. 2, l. 2], Jigges.]—See Introduction.
[P. 2, l. 8], I could flye to Rome (at least hop to Rome, as the olde Proverb is) with a morter on my head.]—So in Fletcher’s Fair Maid of the Inn, “He did measure the stars with a false yard, and may now travel to Rome with a mortar on ’s head, to see if he can recover his money that way,” Act v. sc. 2, Works, ix. 498, ed. Weber; and in Middleton and Rowley’s Spanish Gipsy, “A cousin of mine in Rome, I[’ll] go to him with a mortar,” Act ii. sc. 2, Middleton’s Works, iv. 135, ed. Dyce.
[P. 2, l. 11], huntsup.]—a tune played to rouse the sportsmen in a morning.
[P. 3, l. 10], Thomas Slye.]—A relation, probably, of William Slye, the actor.
[P. 3, l. 15], bel-shangles.]—A cant term, which is also used by Nash: “Canonizing euerie Bel-shangles the water-bearer for a Saint.”—Haue with you to Saffron-walden, 1596, Sig. I.
[P. 4, l. 18], Bauines.]—small faggots.
[P. 4, l. 30], hey-de-gaies.]—a kind of rural dance: the word is variously written.
[P. 6, l. 9], dy-doppers.]—didappers, dabchicks.
[P. 6, l. 13], a noted Cut-purse, such a one as we tye to a poast on our stage, for all people to wonder at, when at a play they are taken pilfring.]—Mr. Collier, who has cited the present passage, observes, that this method of treating cutpurses, when detected at theatres, is no where else adverted to by any writer.—Hist. of Engl. Dram. Poet. iii. 413.