2000. child; see note to l. 2020. Termagaunt; one of the idols whom the Saracens (in the medieval romances) are supposed to worship. See The King of Tars, ed. Ritson (Met. Rom., ii. 174-182), where the Sultan's gods are said to be Jubiter, Jovin (both forms of Jupiter), Astrot (Astarte), Mahoun (Mahomet), Appolin (Apollo), Plotoun (Pluto), and Tirmagaunt. Lybeaus Disconus (Ritson, Met. Rom. ii. 55) fought with a giant 'that levede yn Termagaunt.' The Old French form is Tervagant, Ital. Tervagante or Trivigante, as in Ariosto. Wheeler, in his Noted Names of Fiction, gives the following account—'Ugo Foscolo says: "Trivigante, whom the predecessors of Ariosto always couple with Apollino, is really Diana Trivia, the sister of the classical Apollo.".... According to Panizzi, Trivagante or Tervagante is the Moon, or Diana, or Hecate, wandering under three names. Termagant was an imaginary being, supposed by the crusaders, who confounded Mahometans with pagans, to be a Mahometan deity. This imaginary personage was introduced into early English plays and moralities, and was represented as of a most violent character, so that a ranting actor might always appear to advantage in it. See Hamlet, iii. 2. 15.' Fairfax, in his translation of Tasso (c. i. st. 84), speaks of Termagaunt and Mahound, but Tasso mentions 'Macometto' only. See also Spenser, F. Q. vi. 7. 47. Hence comes our termagant in the sense of a noisy boisterous woman. Shakespeare has—'that hot
termagant Scot'; 1 Hen. IV., v. 2. 114. Cf. Ritson's note, Met. Rom. iii. 257.
2002. slee, will slay. In Anglo-Saxon, there being no distinct future tense, it is expressed by the present. Cf. go for will go in 'we also go with thee'; John xxi. 3.
2005. simphonye, the name of a kind of tabor. In Ritson's Ancient Songs, i. lxiv., is a quotation from Hawkins's Hist. of Music, ii. 284, in which that author cites a passage from Batman's translation of Bartholomaeus de Proprietatibus Rerum, to the effect that the symphonie was 'an instrument of musyke ... made of an holowe tree [i. e. piece of wood], closyd in lether in eyther syde; and mynstrels beteth it with styckes.' Probably the symphangle was the same instrument. In Rob. of Brunne's Handlyng Synne, ll. 4772-3, we find:—
'Yn harpe, yn thabour, and symphangle,
Wurschepe God, yn trumpes and sautre.'
Godefroy gives the O. F. spellings cifonie, siphonie, chifonie, cinfonie, cymphonie, &c.; all clearly derived from the Greek συμφωνία; see Luke, xv. 25. Cf. Squyre of Lowe Degre, 1070-7.
2007. al-so mote I thee, as I may thrive; or, as I hope to thrive; a common expression. Cf. 'So mote y thee'; Sir Eglamour, ed. Halliwell, l. 430; Occleve, De Regimine Principum, st. 620. Chaucer also uses 'so thee ik,' i. e. so thrive I, in the Reves Prologue (A. 3864) and elsewhere.
2012. Abyen it ful soure, very bitterly shalt thou pay for it. There is a confusion between A. S. súr, sour, and A. S. sár, sore, in this and similar phrases; both were used once, but now we should use sorely, not sourly. In Layamon, l. 8158, we find 'þou salt it sore abugge,' thou shalt sorely pay for it; on the other hand, we find in P. Plowman, B. ii. 140:—
'It shal bisitte ȝowre soules · ful soure atte laste.'