[79] You acquired citizenship in right of your father, and without personal service.
[80] An allusion to Godfrey of Boulogne or Bulloigne.
[81] Innocent, it must be remembered, in the language of our old dramatic writers, denotes an idiot.
[82] [Enjoy, in the sense of a man having knowledge of a woman.] Doll Tearsheet says of Pistol, in the "Second Part of Henry IV.," "These villains will make the word captain as odious as the word occupy, which, was an excellent good word before it was ill-sorted," [See Nares, edit. 1859, in v.; and Percy Folio MS. ("Loose and Humorous Songs," p. 29.)]
[83] "Tallies," says Johnson, "are sticks cut in conformity to others, by which accounts were kept." Jack Cade reproaches the Lord Say, "with having caused printing to be used, whereas before no other books were made use of by their forefathers but the score and tally. And Cade has the Exchequer Office on his side, where accounts are still partially kept after this most barbarous fashion."
[84] The name of a tooth-drawer, real or imaginary, who attended fairs. In 1592 Chettle printed his tract called "Kindhart's Dream." Dilke observes: "I am inclined to think, however, that kind-heart was the 'travelling name' of some notorious quack tooth-drawer, or a cant name given to the whole race of them. So the stage-keeper, in the induction to 'Bartholomew Fair,' when expressing his fear of the author's success, says: 'He has ne'er a sword-and-buckler man in his fair, nor a little Davy, to take toll of the bawds there, as in my time; nor a kind-heart, if anybody's teeth should chance to ake in his play.' And further, it is part of the 'covenant and agreement,' in the same induction, that the audience shall not 'look back to the sword-and-buckler age of Smithfield, but content themselves with the present. Instead of a little Davy, to take toll of the bawds, the author doth promise a strutting horse-courser, with a leer drunkard, two or three to attend him in as good equipage as you would wish. And then for kind-heart the tooth-drawer, a fine oily pig-woman, with,'" &c., &c. [Lambskin's reply is obviously allusive to the name by which Stephen has just addressed the widow.]
[85] The artemisia or southern wood is meant.
[86] Jane has been too successful in her play on the names and qualities of the flowers to have chosen this at random; and I am inclined to think the following extract from the "Winter's Tale" will serve to elucidate her meaning—
"The fairest flowers o' the season
Are our carnations and streak'd gilliflowers.
Which some call nature's bastards: of that kind
Our rustic garden's barren; and I care not
To get slips of them.
Pol. Wherefore, gentle maiden,
Do you neglect them?
Per. For I have heard it said,
There is an art, which, in their piedness, shares
With great creating nature."
"This art," says Steevens, in a note on that passage, "is pretended to be taught at the end of some of the old books that treat of cookery." As I understand the passage then, Jane means to say, I have such good qualities and beauty as nature has given, but none that are produced by art. If the passage be thus understood, the opposition of the rose and the gilliflower is complete. If the reader is not satisfied with this conjecture, I will further suggest that gill-flirt was then a well-known term for a wanton; and Steevens has informed us that gilly'vors (the vulgar way of calling gilly-flowers) is still in use in Sussex to denote a harlot. Jane has spoken more than once of her honesty, and here may be the allusion.