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 Chapter 7 - Intelligence and Reasoning
Student: ___________________________________________________________________________

1. Which of the following was not viewed as an indicator of intelligence by the experts and laypersons
interviewed during Sternberg’s research?

A. social competence
B. problem solving abilities
C. verbal ability
D. spatial ability

2. The fact that some aspects of intelligence seem to decline while other aspects show increases with age is
reflected in which component of the life-span perspective?

A. plasticity
B. multidirectionality
C. interindividual variability
D. intraindividual consistency

3. Which of the following is not a basic concept of the life-span view?

A. plasticity.
B. multidirectionality
C. interindividual variability
D. intraindividual consistency

4. In Baltes’ dual-component model, cognition as a basic process concerns

A. acquisition of symbolic knowledge.

B. everyday cognitive performance and human adaptation.
C. developmental changes in basic forms of thinking.
D. modification of underlying fluid intelligence abilities.

5. In the dual-component model, pragmatic intelligence dominates during

A. childhood.
B. adolescence.
C. adulthood.
D. throughout the life-span.

6. According to the dual-component model, adulthood is predominantly concerned with the growth of

A. fluid intelligence.
B. crystallized intelligence.
C. inter-cohort similarity.
D. multidiversity trends.

1
7. Which approach to intelligence emphasizes scores on standardized tests?

A. psychometric
B. neofunctionalist
C. cognitive
D. applied

8. In the psychometric approach, intelligence refers to

A. the stages of intellectual growth.

B. moderators of performance.
C. the organization of interrelated abilities.
D. how test performance data are analyzed.

9. The approach to intelligence that focuses on developmental changes in the way people conceptualize
problems and styles of thinking is known as

A. psychometric approach.
B. dual-component model.
C. cognitive structural approach.
D. practical intelligence.

10. The hierarchy of intelligence from the lowest to highest levels is:

A. test questions, tests, primary mental abilities, secondary mental abilities, third order
mental abilities, general intelligence
B. primary mental abilities, secondary mental abilities, third order mental abilities, general intelligence,
test questions, tests
C. primary mental abilities, secondary mental abilities, test questions, tests, third order mental abilities,
general intelligence
D. primary mental abilities, test questions, tests, general intelligence, secondary mental abilities, third
order mental abilities

11. If the performance on one test is highly related to the performance on another, the abilities measured by
the two tests are interrelated and called a

A. test.
B. trait.
C. factor.
D. correlation.

12. Which of the following is not a primary mental ability?

A. verbal meaning
B. inductive reasoning
C. word fluency
D. fluid intelligence

2
13. Which researcher’s name is associated with largest and most comprehensive sequential study of
intelligence?

A. Wechsler
B. Sternberg
C. Salthouse
D. K. Warner Schaie

14. Longitudinal sequential research on primary mental abilities reveals

A. no age-related declines.
B. major declines prior to age 40.
C. little practical decline until age 60.
D. identical patterns for all abilities.

15. By age_____ nearly everyone shows decline on one ability, though very few people show decline on four
or five abilities

A. 70
B. 88
C. 50
D. 60

16. The secondary mental ability focused on the perception of visual patterns is

A. auditory organization.
B. visual organization.
C. crystallized intelligence.
D. fluid intelligence.

17. The secondary mental ability focused on fluent perception of auditory patterns is

A. auditory organization.
B. visual organization.
C. crystallized intelligence.
D. fluid intelligence.

18. An individual’s innate abilities independent of acquired knowledge and experience constitute

A. fluid intelligence.
B. crystallized intelligence.
C. primary intelligence.
D. tertiary intelligence.

19. Figuring out which letter goes next in the series “z, w, s, n _____” is an example of

A. fluid intelligence.
B. crystallized intelligence.
C. primary intelligence.
D. tertiary intelligence.

3
20. Knowledge acquired through experience and education constitutes

A. fluid intelligence.
B. crystallized intelligence.
C. primary intelligence.
D. tertiary intelligence.

21. Which of the following tests would not measure crystallized intelligence?

A. vocabulary
B. intentional learning
C. comprehension
D. inductive reasoning

22. Knowing all the names of each president and vice president of the United States of America draws on
which intelligence?

A. fluid intelligence
B. crystallized intelligence
C. primary intelligence
D. tertiary intelligence

23. On the television show “Who Wants to Be a Millionaire,” many of the big winners have been in their 40s
and 50s. This likely due to their superiority in which type of intelligence?

A. fluid
B. emotional
C. crystallized
D. inductive reasoning

24. In general, crystallized and fluid intelligence show

A. opposite developmental trends.

B. identical developmental trends.
C. no developmental trends.
D. unknown developmental trends.

25. Based on the developmental changes in fluid and crystallized intelligence, on which type of test would
you expect an older person to receive a high score?

A. vocabulary
B. perceptual speed
C. spatial relations
D. inductive reasoning

Based on the research on fluid and crystallized intelligence, we know that

A. learning continues through adulthood.

B. learning gets easier through adulthood.
C. you can’t teach an old dog new tricks.
D. learning in adulthood is tedious and should be avoided.

4
From the research on intelligence, we know that with increasing age,

A. there are gains in information-processing abilities.

B. there are losses in information-processing abilities.
C. there are declines in experienced-based processes.
D. information-processing abilities and experienced-based processes remain stable.

Evidence concerning crystallized and fluid intelligence shows that

A. all abilities change at the same rate.

B. all abilities decline.
C. intellectual development is constant.
D. intellectual development is diverse.

Which of the following is not a moderator of intellectual change?

A. cohort
B. educational level
C. occupation
D. gender

The fact that younger generations generally do better on primary mental abilities than older generations
is an example of

A. a cohort effect.
B. changes in information processing system.
C. better health care improving mental functioning.
D. all of these.

Which of the following is not a social demographic variable implicated in reducing rates of intellectual
decline?

A. having a complex job

B. exposure to stimulating environments
C. utilization of cultural and educational resources
D. low educational level

Schaie (1995) reported that individuals with which personality characteristic at midlife tend to
experience fewer declines in intellectual competence?

A. egocentricism
B. personal control
C. flexible attitude
D. introversion

With respect to health and intellectual performance,

A. physical health is not related to intellectual performance.

B. the relationship between cardiovascular disease and intelligence is controversial.
C. less healthy people tend to be more intellectual.
D. the connection between cardiovascular disease and intelligence is well established.

5
Compared to traditional intelligence tests, basic skills tests (e.g., reading street maps, reading labels) are

A. less relevant to everyday life of older adults and does not measure similar concepts.
B. more relevant to everyday life of older adults and measure similar concepts.
C. more complex for older adults and measure different concepts.
D. unrelated to each other.

Research comparing performance on standardized and everyday versions of tasks showed that older
adults’ everyday performance correlated best with measures of

A. inductive reasoning.
B. crystallized intelligence.
C. fluid intelligence.
D. vocabulary.

Project ADEPT and Project ACTIVE examined whether primary mental abilities could be
trained. Which second-order ability is related to the abilities trained in ADEPT and ACTIVE?

A. fluid intelligence
B. crystallized intelligence
C. short-term memory
D. long-term memory

Project ACTIVE training on spatial or reasoning ability reveals that

A. training did not change intellectual performance.

B. training improved spatial ability but not reasoning ability.
C. training reversed 14-year declines.
D. training actually made declines worse.

Research on the long-term effects of cognitive training on fluid abilities shows that

A. effects can last as long as seven years.

B. effects do not last longer than one year.
C. effects are strong in the beginning and then are eliminated.
D. effects are present only in women.

Project ADEPT showed that

A. older adults’ performance could not be improved by training.

B. the improvements due to training disappear after a few months.
C. it was necessary to combine training with medication to see improvements.
D. training and booster sessions resulted in improved performance.

Seven years after completing training on primary mental abilities in Project ADEPT, over _____ were
still performing above baseline rates.

A. 20%
B. 40%
C. 60%
D. 80%

6
According to Piaget, what is responsible for cognitive development?

A. changes in cognitive structures

B. changes in function
C. changes in assimilation processes
D. changes in behavior

According to Piaget’s theory, interpreting the world in terms of existing cognitive structures is called

A. organization.
B. operations.
C. accommodation.
D. assimilation.

Using what you know about fast food restaurants to order lunch at a new burger place is an example of
_____ in Piaget’s theory.

A. organization
B. operations
C. accommodation
D. assimilation

According to Piaget’s theory, changing one’s thoughts to make a better approximation of the world is
called

A. organization.
B. operations.
C. accommodation.
D. assimilation.

Changing how you study for algebra exams as compared to history exams would be an example of _____
in Piaget’s theory.

A. organization
B. operations
C. accommodation
D. assimilation

Which of the following is the correct sequence of Piaget’s stages?

A. concrete operations, sensorimotor, formal operations, preoperational

B. sensorimotor, preoperational, concrete operations, formal operations
C. formal operations, concrete operations, preoperational, sensorimotor
D. preoperational, formal operations, sensorimotor, concrete operations

Traditional scientific reasoning is an example of which aspect of formal operations?

A. hypothetico-deductive thought
B. multiple frameworks
C. reality constraints
D. multiple solutions

7
Mary is frustrated with her psychology professor because she will not tell Mary which theory of
intelligence is the “correct” one. Mary is demonstrating which aspect of formal operations?

A. hypothetico-deductive thought
B. multiple frameworks
C. reality constraints
D. single solution

Which of the following statements is an example of unconstrained thought?

A. “There is only one answer to this problem.”

B. “Let’s assume the United States disarms unilaterally.”
C. “If A>B, and B>C, then A>C.”
D. “If you do not agree that standing on your head is silly, then you are wrong.”

Which of the following is not a characteristic of formal operations?

A. hypothetico-deductive thought
B. logical structure
C. reality constraints
D. one solution

Research on developmental trends in formal operations shows that

A. older adults outperform younger adults.

B. college-educated adults typically skip this stage.
C. all adults operate at this level.
D. some adults never attain this level.

Which type of thought is characterized by the recognition that the correct answer varies from situation to
situation, the solutions must be realistic, that ambiguity is the rule rather than the exception, and that
emotion and subjective factors usually play a role in thinking?

A. concrete operational thought

B. formal operational thought
C. postformal thought
D. reflective thought

Postformal thought is characterized by all of the following except

A. the correct answer varies from situation to situation.

B. there is only one correct answer.
C. emotion and subjective factors usually play a role in thinking.
D. the recognition that the solutions must be realistic.

How people reason through dilemmas involving current affairs, religion, science, etc. are using

A. postformal thought.
B. reflective judgment.
C. absolutist judgment.
D. none of these.

8
According to Kitchener and Fischer (1990), the highest developmental level of information-processing a
person is capable of is known as

A. skill acquisition.
B. reflective judgment.
C. optimal level.
D. procedural knowing.

According to Kramer, Kahlbaugh, and Goldston (1992) reflective judgment progresses in the following
order:

A. relativistic; absolutist; dialectical

B. absolutist; relativistic; dialectical
C. dialectical; relativistic; absolutist
D. absolutist; dialectical; relativistic

Realizing that there can be more than one right answer to a problem, and that they are dependent on
situational circumstances demonstrates

A. absolutism.
B. mechanism.
C. formalism.
D. relativism.

The research on emotion and thought processes concluded that

A. high school students tend to think at higher developmental levels when confronted with emotionally
salient problems (e.g., pregnancy).
B. middle-aged adults tend to think at lower developmental levels when confronted with emotionally
salient problems (e.g., children).
C. high school students tend to think at lower developmental levels when confronted with emotionally
salient problems (e.g., pregnancy).
D. middle-aged adults tend to think at higher developmental levels when confronted with emotionally
salient problems (e.g., children).

Reasoning about highly emotionally-charged dilemmas

A. is easier for young adults.

B. is easier for older adults.
C. is easier for adolescents.
D. is easier for middle-aged adults.

The research on gender and thought processes reports that

A. males reason in more sophisticated ways than females.

B. the different ways of knowing are unique to males.
C. males and females reason is qualitatively different ways.
D. the different ways of knowing are found in both males and females.

9
Which of the following is not true of older adults’ decision making?

A. Older adults have difficulty in unfamiliar situations.

B. Older adults have difficulty when under time pressure.
C. Older adults have difficulty when decision-making requires a lot of capacity.
D. Older adults’ quality of decisions is not as good as younger adults.

In Denney’s model, which of the following terms refers to the ability a normal healthy adult would
exhibit without practice or training?

A. optimally exercised ability

B. pragmatic intelligence
C. unexercised ability
D. interindividual variability

Fluid intelligence is an example of

A. cognition as basic processes.

B. interdependent third-order abilities.
C. unexercised ability.
D. optimally exercised ability.

In Denney’s model, which of the following terms refers to the ability a normal healthy adult would
exhibit with practice or training?

A. optimally exercised ability

B. pragmatic intelligence
C. unexercised ability
D. interindividual variability

Crystallized intelligence is an example of

A. cognition as basic processes.

B. interdependent third-order abilities.
C. untrained or unpracticed ability.
D. optimally exercised ability.

Research on practical problem solving shows that

A. performance peaks in early adulthood and then declines.

B. performance increases from early adulthood to middle age.
C. performance increases most between middle and old age.
D. performance remains the same across adulthood.

The "triumph of knowledge over reasoning" is best documented by research on

A. wisdom.
B. expertise.
C. postformal thought.
D. unexercised abilities.

10
Experts

A. use novel approaches to solve difficult problems.

B. have extensive knowledge about a particular topic.
C. are highly practiced.
D. use all of these.

The process of encapsulation refers to the way in which

A. the processes of thinking becomes disconnected from the products of thinking.

B. the processes of thinking improves while the products of thinking decline.
C. the processes of thinking declines while the products of thinking improve.
D. the processes of thinking becomes connected to the products of thinking.

The Dalai Lama wisdom story at the beginning of the chapter highlighted all of the following
characteristics of wisdom except

A. it involved practical knowledge.

B. it was given at a price.
C. it was based on life experience.
D. it involved psychological insights.

Wisdom is viewed as involving the following cognitive processes except

A. practical and social intelligence.

B. insight into the deeper meanings underlying a given situation.
C. constrained thinking.
D. awareness of the relative, uncertain, and paradoxical nature of problems.

Wisdom is

A. the same thing as creativity.

B. the generation of a new solution to a problem.
C. different than creativity.
D. characterized by constrained reasoning processes.

Research on wisdom shows that it is most associated with

A. creativity.
B. age.
C. fluid intelligence.
D. life experience.

Research on age differences in wisdom shows that

A. there is little association between the two.

B. wisdom increases dramatically during old age.
C. there are few individual differences.
D. young adults cannot be wise.

11
Which of the following is not a specific factor identified by Baltes and Staudinger (2000) to help a
person become wise?

A. intraindividual variability
B. general personal conditions
C. specific expertise conditions
D. facilitating life contexts

Identify and provide an example of the major clusters of intelligence agreed upon by both experts and
laypersons. WWW

Identify and discuss the basic concepts underlying the life-span approach to intelligence.

Describe the basic assumptions to each theoretical approach to intelligence discussed in the
chapter. How might the assumptions of each influence the type of questions that these researchers
ask? Make sure that your response includes an example of the type of questions that would be asked by
each approach.

12
Intelligence is conceptualized by some as a hierarchy. Describe the hierarchical structure of
intelligence. WWW

Describe the major findings from Schaie’s Seattle Longitudinal Study and the implications.

Discuss the correspondence between primary mental abilities and secondary mental abilities. WWW

There have been several projects designed to train cognitive abilities. Describe these studies and their
outcomes.

13
How are the primary and secondary mental abilities related to the aspects of information processing
considered in the information-processing model (Chapter 6) and memory (Chapter 7)?

Identify and differentiate among the Piagetian concepts of organization, adaptation, assimilation,
accommodation, and hypothetico-deductive reasoning. WWW

Discuss the correspondence of postformal thought and crystallized intelligence.

If you are not a postformal thinker, can you truly understand the concept of postformal
thought? Why? Make sure that your response discusses the characteristics of a postformal thinker.

14
Briefly describe the components and their developmental trajectory in Denney’s model of unexercised
and optimally exercised abilities. How is Denney’s model related to secondary mental abilities?

Describe absolutist, relativistic, and dialectical thought. WWW

How are emotion and logic integrated into thought? Make sure that your response summarizes the
research on this topic.

Describe the correspondence between Schaie’s findings and the primary mental abilities in the Seattle
Longitudinal Study and normative age-related physiological changes in brain.

15
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borrowed it. The meaning of this controverted speech may be as follows: "this
child of invention shall relate to us, in his bombastic language, the worthy
deeds of many a Spanish knight which are now forgotten amidst those topics
that engage the attention of mankind." The expression tawny Spain may refer
to the Moors in that country; for although they had been expelled from thence
almost a century before the time of Shakspeare, it was allowable on the
present occasion to refer to the period when they flourished in Spain; or he
might only copy what he found in the original story of the play.
Scene 2. Page 198.
Arm. Why, sadness is one and the self same thing, dear imp.
This word, which is well explained by Mr. Ritson, was often, as in the present
instance, used to pages. Thus Urquhart in his Discovery of a jewel, &c. p.
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Scene 2. Page 200.
Moth ... the dancing horse will tell you.
The best account of Banks and his famous horse Morocco is to be found in the
notes to a French translation of Apuleius's Golden ass by Jean de Montlyard,
Sieur de Melleray, counsellor to the Prince of Condé. This work was first
printed in 1602, 8vo, and several times afterwards. The author himself had
seen the horse, whose master he calls a Scotishman, at Paris, where he was
exhibited in 1601, at the Golden Lion, Rue Saint Jaques. He is described as a
middle-sized bay English gelding, about 14 years old. A few quotations from
the work itself may not be unacceptable. "Son maistre l'appelle Moraco....
Nous avons vu son maistre l'interroger combien de francs vaut l'escu: et luy,
donner trois fois du pied en terre. Mais chose plus estrange, parce que l'escu
d'or sol et de poids vaut encor maintenant au mois de Mars 1601, plus que
trois francs: l'Escossois luy demanda combien de sols valoit cest escu outre les
trois francs; et Moraco frappa quatre coups, pour denoter les quatre sols que
vaut lescu de surcroist." In which remark the counsellor shows himself less
sagacious than the horse he is describing. He proceeds: "Après un infinité de
tours de passe-passe, il luy fait danser les Canaries avec beaucoup d'art et de
dexterité." The rest of the numerous tricks performed by this animal are much
the same as those practised by the horses educated under the ingenious Mr.
Astley. We also learn from this French work, that the magistrates, conceiving
that all this could not be done without the aid of magic, had some time before
imprisoned the master, and put the horse under sequestration; but having
since discovered that every thing was effected by mere art and the making of
signs, they had liberated the parties and permitted an exhibition. The
Scotchman had undertaken to teach any horse the same tricks in a
twelvemonth. It is said that both the horse and his master were afterwards
burned at Rome as magicians; nor is this the only instance of the kind. In a
little book entitled Le diable bossu, Nancy, 1708, 18mo, there is an obscure
allusion to an English horse, whose master had taught him to know the cards,
and which was burned alive at Lisbon in 1707; and Mr. Granger, in his
Biographical history of England, vol. iii. p. 164, edit. 1779, has informed us
that within his remembrance a horse which had been taught to perform
several tricks was, with his owner, put into the Inquisition. The author of the
life of Mal Cutpurse, 1662, 12mo, mentions her "fellow humourist Banks the
vintner in Cheapside, who taught his horse to dance and shooed him with
silver." In the eighth book of Markham's Cavalarice or the English horseman,
1607, 4to, there is a chapter "how a horse may be taught to doe and tricke
done by Bankes his curtall." It is extremely curious, and towards the end
throws light upon the second line of Bastard's epigram quoted by Mr.
Steevens.
Scene 2. Page 203.
Arm. Green, indeed, is the colour of lovers.
Green eyes, jealousy, and the willow, have been mentioned as the subjects of
this allusion; but it is, perhaps, to melancholy, the frequent concomitant of
love. Thus in Twelfth night, "And with a green and yellow melancholy;"
certainly in that instance, the effect of love.
Scene 2. Page 206.
Dull. She is allowed for the day-woman.
See more on the word dey in Mr. Tyrwhitt's edition of The Canterbury tales, iii.
287, who supposes that a dey originally meant a day labourer, however it
came afterwards to be applied to the dairy: yet this conjecture must give way
to Dr. Johnson's statement that day is an old word for milk. The doctor has
not indeed produced any authority, and the original Saxon word seems lost;
but in the Swedish language, which bears the greatest affinity to our own of
any other, as far as regards the Teutonic part of it, dia signifies to milk, and
deie, in Polish, the same. Die, in Danish, is the breast. The nearest Saxon
word that remains is diende, sucklings; and there can be no doubt that we
have the term in question from some of our northern ancestors. The dey or
dairy maid is mentioned in the old statutes that relate to working people; and
in that of 12 Ric. II. the annual wages of this person are settled at six
shillings.
 ACT II.
Scene 1. Page 221.
Prin. Good wits will be jangling: but gentles agree.
These alliterative and anapæstic lines are in the manner of Tusser, who has
many such; for example,
"At Christmas of Christ many carols we sing."
It will be admitted that the construction of this sort of verse is rather less
adapted to a court than a cottage; but it is presumed that none will be
inclined to find Shakspeare guilty of such poetry, which a good deal resembles
the halfpenny book style of

"Here's N. with a nag that is prancing with pride,

And O. with an owl hooping close by his side."

Scene 1. Page 222.

Bovet. His heart like an agate with your print impressed.
An allusion either to the figures of the human face often found in agates and
other stones, or to an engraved gem.

ACT III.
Scene 1. Page 225.
Moth. Master, will you win your love with a French brawl.
The word brawl in its signification of a dance is from the French branle,
indicating a shaking or swinging motion. The following accounts of this dance
may be found more intelligible than that cited from Marston. It was performed
by several persons uniting hands in a circle, and giving each other continual
shakes, the steps changing with the tune. It usually consisted of three pas
and a pied-joint, to the time of four strokes of the bow; which being repeated
was termed a double brawl. With this dance balls were usually opened. Le
branle du bouquet is thus described in Deux dialogues du nouveau langage
François, Italianizé, &c. Anvers, 1579, 24mo:—"Un des gentilhommes et une
des dames, estans les premiers en la danse, laissent les autres (qui cependant
continuent la danse) et se mettans dedans la dicte compagnie, vont baisans
par ordre toutes les personnes qui y sont: à sçavoir le gentil-homme les
dames, et la dame les gentils-hommes. Puis ayans achevé leurs baisemens,
au lieu qu'ils estoyent les premiers en la danse, se mettent les derniers. Et
ceste façon de faire se continue par le gentilhomme et la dame qui sont les
plus prochains, jusques à ce qu'on vienne aux derniers."—P. 385. It is
probably to this dance that the puritan Stubbes alludes in the following words:
"for what clipping, what culling, what kissing and bussing, what smouching
and slabbering one of another: what filthy groping and unclean handling is
not practised every where in these dauncings? Yea the very deed and action
itselfe which I will not name for offending chaste eares, shall bee purtrayed
and shadowed foorth in their bawdy gestures of one to another."—Anatomie
of abuses, p. 114, edit. 1595, 4to. And John Northbrooke, another writer
ejusdem farinæ, in his invective called A treatise wherein dicing, dauncing,
vaine plaies or enterludes, &c. 1579, 4to, exclaims that "the Pagans were
better and more sad than wee be, they never knewe this newe fashion of
dauncing of ours, and uncleanely handling and groping, and kissings, and a
very kindling of lechery: whereto serveth all that bassing, as were pigeons the
birdes of Venus?" And again; "they daunce with disordinate gestures, and
with monstrous thumping of the feete, to pleasant soundes, to wanton
songues, to dishonest verses, maidens and matrons are groped and handled
with unchaste hands, and kissed and dishonestly embraced," fo. 64, 66.
Amidst a great variety of brawls mentioned in the very curious treatise on
dancing by Thoinot Arbeau, entitled Orchesographie, Lengres, 1588, 4to,
there is a Scotish brawl, with the music, which is here given as a specimen of
an old Scotish tune.

The facetious macaronic poet Antony Sablon, or de Arena, whose work

Camden says he "kept as a jewel," has left the following description of a
brawl:—
 Modus dansandi branlos.

"Ipse modis branlos debes dansare duobus,

Simplos et duplos usus habere solet.
Sed branlos duplos, passus tibi quinque laborent.
Tres fac avantum, sed reculando duos,
Quattuor in mensura ictus marchabis eundo,
Atque retornando quattuor ipse dabis."

This dance continued in fashion in our own country so late as the year 1693,
when Playford published a book of tunes in which a brawl composed by Mons.
Paisable occurs; and see many of the little French pieces in the Theatre de la
foire, 1721.
Scene 1. Page 225.
Moth. Canary it with your feet.
The canary was another very favourite dance. In the translation of Leo's
Description of Africa, by Pory, 1600, folio, there is an additional account of the
Canary islands, in which the author, speaking of the inhabitants, says, "They
were and are at this day delighted with a kind of dance which they use also in
Spain, and in other places, and because it took originall from thence, it is
called the Canaries." Thoinot Arbeau likewise mentions this opinion, but is
himself, in common with some others, inclined to think that the dance
originated from a ballet composed for a masquerade, in which the performers
were habited as kings and queens of Morocco, or as savages with feathers of
different colours. He then describes it as follows:—A lady is taken out by a
gentleman, and after dancing together to the cadences of the proper air, he
leads her to the end of the hall; this done he retreats back to the original
spot, always looking at the lady. Then he makes up to her again, with certain
steps, and retreats as before. His partner performs the same ceremony, which
is several times repeated by both parties, with various strange fantastic steps,
very much in the savage style. This dance was sometimes accompanied by
the castagnets. The following Canary tune is from Arbeau.
 Scene 1. Page 236.
Cost. Guerdon,—O sweet guerdon!
Mr. Steevens deduces this word from the middle age Latin regardum. It is
presumed that few, if any, words are derived from the Latin of that period,
which itself was rather corrupted by the introduction of terms from the living
languages of Europe Latinized by the Monkish writers. Guerdon, as used by
us, is immediately from the French: not equivalent, as some have imagined,
with don de guerre, but formed from the Teutonic werd or wurth, i. e. price,
value.
Scene 1. Page 237.
Biron. This wimpled, whining, purblind, wayward boy.
If, as Mr. Steevens observes, the advocates for Shakspeare's learning, on a
presumption that he might have been acquainted with the Roman flammeum,
or seen the celebrated gem of the marriage of Cupid and Psyche, had
applauded the choice of his epithet, it is certain they would have shown very
little skill or critical judgment on the occasion. By wimpled, Shakspeare means
no more than that Cupid was hood-winked, alluding to the usual
representation in paintings where he is exhibited with a bandage over his
eyes. It may be observed here that the blindness of the God of love is not
warranted by the authority of any ancient classic author, but appears to have
been the invention of some writer of the middle ages; not improbably
Boccaccio, who in his Genealogy of the Gods gives the following account:
"Oculos autem illi fascia tegunt, ut advertamus amantes ignorare quo tendant;
nulla eorum esse indicia, nullæ rerum distinctiones, sed sola passione duci."—
Lib. ix. c. 4.
The oldest English writer who has noticed the blindness of love is Chaucer, in
his translation of the Roman de la rose:
"The God of love, blind as stone."
But this line is not in the French original. Shakspeare himself has well
accounted for Cupid's blindness:

"Love looks not with the eyes, but with the mind,
And therefore is wing'd Cupid painted blind."
M. N. Dream, Act I.
Scene 1.
Scene 1. Page 240.
Biron. And I to be a corporal of the field.
Dr. Farmer's quotation of the line from Ben Jonson, "As corporal of the field,
maestro del campo," has the appearance, without perhaps the intention, of
suggesting that these officers were the same: this, however, was not the fact.
In Styward's Pathway to martiall discipline, 1581, 4to, there is a chapter on
the office of maister of the campe, and another on the electing and office of
the foure corporalls of the fields; from which it appears that "two of the latter
were appointed for placing and ordering of shot, and the other two for
embattailing of the pikes and billes, who according to their worthinesse, if
death hapneth, are to succeede the great sergeant or sergeant major."
Scene 1. Page 241.
Biron. ... like a German clock.
Such part of Mr. Steevens's note as relates to the invention of clocks may, in a
future edition, be rendered more correct by consulting Beckman's History of
inventions. It is certain that we had clocks in England before the reign of
Elizabeth; but they were not in general use till that time, when most, if not all,
of them were imported from Germany. These clocks resembled what are still
made for the use of the lower classes of people by several ingenious Germans
established in London.
Scene 1. Page 242.

Biron. Some men must love my lady, and some Joan.

Alluding to the homely proverb, "Joan's as good as my lady in the dark:" and
in Markham's Health to the gentlemanly profession of serving men, sign. I. 3,
we have, "What hath Joan to do with my lady?"

ACT IV.
 Scene 1. Page 243.

Prin. ... my friend, where is the bush

That we must stand and play the murderer in?

The practice of ladies shooting at deer in this passage alluded to, is of great
antiquity, as may be collected from Strutt's Sports and pastimes of the people
of England, p. 9. The old romances abound with such incidents; but one of
the most diverting is recorded in The history of prince Arthur, part 3, chap.
cxxiv. where a lady huntress wounds Sir Lancelot of the Lake, instead of a
deer, in a manner most "comically tragical."
Scene 1. Page 246.
Cost. God-dig-you-den all.
"A corruption," says Mr. Malone very justly, "of God give you good even."
Howel, at the end of his Parley of the beasts, has an advertisement relating to
orthography, in which, after giving several examples that the French do not
speak as they write, he observes that "the English come not short of him (the
Frenchman); for whereas he writes, God give you good evening, he often
saies, Godi, godin." But the whole of what Howel has said on this subject is
unfairly pillaged from Claude de Sainliens, or, as he chose to call himself in
this country, Hollyband; who after very successfully retorting a charge made
by the English, that Frenchmen do not sound their words as they spell them,
is nevertheless content to admit that his countrymen do sometimes err, as
when they say avoo disné, for avez vous disné? See his treatise De
pronuntiatione linguæ Gallicæ, Lond. 1580, 12mo, p. 81. This person was a
teacher of languages in London, and wrote several ingenious works, among
which is the first French and English dictionary, 1580, and 1593, 4to;
afterwards much amplified by Randle Cotgrave, and by him rendered the best
repertory of old French that is extant. It is in other respects an extremely
valuable work.
Scene 1. Page 49.
Bovet. A phantasm, a Monarcho.
Another trait of this person's character is preserved in Scot's Discoverie of
witchcraft, edit. 1584, p. 54, where, speaking of the influence of melancholy
on the imagination, he says, "the Italian, whom we call here in England the
Monarch, was possessed of the like spirit or conceipt." This conceit was, that
all the ships which came into port belonged to him.
 Scene 2. Page 526.
Enter Holofernes.
A part of Mr. Steevens's note requires the following correction:—Florio's First
fruites were printed in 1578, 4to, by Thomas Dawson. In 1598 he dedicated
his Italian and English dictionary to Roger Earl of Rutland, Henry Earl of
Southampton, and Lucy Countess of Bedford. As to the edition of 1595,
mentioned by Mr. Steevens, does it really exist, or has not too much
confidence been placed in the elegant but inaccurate historian of English
poetry? See vol. iii. p. 465, note (h).
Scene 2. Page 262.
Hol. Dictynna, goodman Dull; Dictynna, goodman Dull.
It is possible, as Mr. Steevens has remarked, that Shakspeare might have
found Diana's title of Dictynna in Golding's Ovid; but there is reason for
supposing that he had seen an English translation of Boccaccio's Genealogy of
the Gods, though we have it not at present. E. Kerke, in his notes on
Spenser's Shepherd's calendar, quotes this work; yet he might have used the
original. From the same source it was possible for Shakspeare to have
acquired the present information, as well as what other mythology he stood in
need of. The Latin dictionaries of Eliot and Cooper would likewise supply him
with similar materials.
Scene 3. Page 274.

Biron. Thou mak'st the triumviry, the corner-cap of society,

The shape of love's Tyburn that hangs up simplicity.

An allusion to the gallows of the time, which was occasionally triangular. Such
a one is seen in some of the cuts to the first edition of Holinshed's Chronicle,
and in other ancient prints.
Scene 3. Page 276.
Biron. By earth she is but corporal; there you lie.
This is Theobald's alteration from the old reading, which was, "She is not,
Corporal, there you lie," and has been adopted by the modern editors from its
apparent ingenuity. A little attention may serve to show that no change was
necessary, and that the original text should be restored. Theobald says that
Dumain had no post in the army, and asks what wit there is in calling him
corporal. The answer is, As much as there had already been in Biron's calling
himself a corporal of Cupid's field; a title equally appropriate to Dumain on the
present occasion. To render the matter still clearer, it may be observed that
Biron does not give the lie to Dumain's assertion that his mistress was a
divinity, as presumed by the amended reading, but to that of her being the
wonder of a mortal eye. Dumain is answered sentence by sentence.
Scene 3. Page 276.
Dum. Her amber hairs for foul have amber coted.
Mr. Steevens's explanation of coted, and of the whole line, is inadmissible.
Foulness or cloudiness is no criterion of the beauty of amber. Mr. Malone has
partly explained coted, by marked, but has apparently missed the sense of it
here when he adds written down. Mr. Mason has given the true construction
of the line, but he mistakes the meaning of coted, which, after all, merely
signifies to mark or note. The word is from the French coter, which, in like
manner as Mr. Malone has well observed of the English term, is the old
orthography of quoter. The grammatical construction is, "her amber hairs
have marked or shown that [real] amber is foul in comparison of themselves."
Scene. 3. Page 291.
Long. Some tricks, some quillets, how to cheat the Devil.
The objection to Warburton's derivation of quillet from the French is, that
there is no such term in the language: nor is it exclusively applicable to law-
chicane, though generally so used by Shakspeare. It strictly means a subtilty,
and seems to have originated among the schoolmen of the middle ages, by
whom it was called a quidlibet. They had likewise their quodlibets and their
quiddities. From the schoolmen these terms were properly enough transferred
to the lawyers. Hamlet says, "Why may not that be the scull of a lawyer?
where be his quiddits now, his quillets, his cases, his tenures and his tricks?"
The conjectures of Peck, and after him of Dr. Grey in a note to Hudibras,
seem to merit but little attention.
Scene 3. Page 294.
Biron. Still climbing trees in the Hesperides.
An error is here laid to Shakspeare's charge, of which he is not perhaps guilty.
The expression trees in the Hesperides must be regarded as elliptical, and
signifies trees in the gardens of the Hesperides. Shakspeare is seldom wrong
in his mythology, and, if he had doubted on the present occasion, the
dictionaries of Eliot or Cooper would have supplied him with the necessary
information. The first quotation in the note from Greene, is equally elliptical;
for this writer was too good a scholar to have committed the mistake ascribed
to Shakspeare: so that the passage, instead of convicting the latter, does in
reality support him. As to the other quotation from Orpheus and Eurydice, the
learned critic himself lays but little stress on it; or indeed might, on
reconsideration, be disposed to think the expression correct. It would not be
difficult to trace instances in modern authors of the use of Hesperides for
gardens of the Hesperides. See Lempriere's excellent classical dictionary, edit.
1792, 8vo.

ACT V.
Scene 1. Page 302.
Hol. His humour is lofty, his discourse peremptory, his tongue
filed.—
Mr Steevens has remarked that Chaucer, Skelton, and Spenser are frequent in
their use of this phrase, but he has offered no explanation. It signifies
polished language; thus Turbervile, in his translation of Ovid's epistles, makes
Phyllis say to her lover—

"Thy many smooth and filed wordes

Did purchase credites place."

Scene 1. Page 306.

Arm. ... a sweet touch, a quick venew of wit.
The cut and thrust notes on this occasion exhibit a complete match between
the two great Shakspearean maisters of defence. "A venew," says Mr.
Steevens, "is the technical term for a bout (or set-to, as he had before called
it in vol. iii. p. 317,) at the fencing school." On the other hand, Mr. Malone
maintains that "a venue is not a bout at fencing, but a hit;" and his opponent
retorts on the ground of positiveness of denial. As the present writer has
himself been an amateur and practitioner of the noble science of defence, he
undertakes on this occasion the office of umpire between the sturdy
combatants.
The quotations adduced on either side are not calculated to ascertain the
clear and genuine sense of the word venew, and it is therefore necessary to
seek for more decisive evidence respecting its meaning. Howel in his Lexicon
tetraglotton, 1660, mentions "a veny in fencing; venue, touche, toca;" and
afterwards more fully in his vocabulary, sect. xxxii. "A foin, veny, or stoccado;
la botta; la touche, le coup." In Sir John Harrington's Life of Dr. Still, is the
following expression, "he would not sticke to warne them in the arguments to
take heede to their answers, like a perfect fencer that will tell afore-hand in
which button he will give the venew." Nugæ antiquæ, vol. ii. p. 158, edit.
1804, by Park. In Ben Jonson's Every man in his humour, Act I. Scene 5,
Bobadil, in answer to Master Matthew's request for one venue, says, "Venue!
fie: most gross denomination as ever I heard; O, the stoccata, while you live,
sir, note that." On this passage, Mr. Reed, in a note on the play of The
widow's tears, Dodsley's Old plays, vol. vi. 152, observes that "the word
appears to have been out of fashion with the fantastic gallants of the time
very early." Its occurrence however so late as the time in which Howel's
dictionary was published seems to render this ingenious remark very
questionable, and suggests another explanation of Bobadil's wish to change
the word, namely, his coxcombly preference of the terms of the Spanish and
Italian schools of fencing to those used in the English, which, it is presumed,
were more immediately borrowed from our Gallic neighbours. That the terms
stoccado and imbrocato denoted a hit or thrust, may be collected from many
passages in Vincent Saviolo's Use of the rapier and dagger, 1595, 4to; and in
Florio's Italian dictionary, 1598, folio, stoccata is rendered, a foyne, a thrust
given in fence; and tocco, a venie at fence, a hit. All the above circumstances
considered, one should feel inclined to adjudge the palm of victory to Mr.
Malone.
It is however remarkable enough that Mr. Steevens is accidentally right in
defining a venew a bout, without being aware of the signification of the latter
word. Florio renders botta, a blowe, a stroake. In the best of all the ancient
French treatises on the art of fencing, entitled Traicté sur l'espée seule, mere
de toutes armes, &c., by Henry De Sainct Didier, Paris, 1573, 4to, it is said,
"bottes en Napollitain, vaut autant à dire, que coups en François." He then
mentions five sorts of bottes, viz. maindrette, renverse, fendante, estoccade,
and imbroucade. Nevertheless the word bout had been used in the sense of a
set-to in Shakspeare's time. In The first part of King Henry the Sixth, Act I.
Scene 5, Talbot says to the Pucelle, "I'll have a bout with thee." It retained,
however, its original meaning long afterwards. Howel, and Sherwood likewise
in his English dictionary at the end of Cotgrave have "a boute, coup," and so it
is defined by Skinner: but the following passage from the account given by Sir
Thomas Urquhart in his singular book entitled A discovery of a most exquisite
jewel found in the kennel of Worcester streets, &c. 1652, 12mo, of the
combat between the admirable Crichton and the celebrated Mantuan duellist,
will put the matter beyond all doubt. "Then was it that to vindicate the
reputation of the duke's family and to expiate the blood of the three
vanquished gentlemen, he alonged a stoccade de pied ferme; then recoyling,
he advanced another thrust, and lodged it home; after which retiring again,
his right foot did beat the cadence of the blow that pierced the belly of this
Italian, whose heart and throat being hit with the two former stroaks, these
three franch bouts given in upon the back of other ... by them he was to be
made a sacrifice of atonement for the slaughter of the three aforesaid
gentlemen who were wounded in the very same parts of their bodies by other
such three venees as these." The same mode of expression is also used by
the same writer in a subsequent account of a duel between Francis Sinclair, a
natural son of the Earl of Caithness, and a German, at Vienna; where it was
agreed that he who should give the other the first three bouts, should have a
pair of golden spurs, in the event of which combat Sinclair "gave in two
venees more than he was obliged to."
On the whole therefore it appears that venew and bout equally denote a hit in
fencing; that both Mr. Steevens and Mr. Malone are right in this respect; but
that the former gentleman is inaccurate in supposing a venew to mean a set-
to, and the latter equally so in asserting that "a venew is not a bout."
Scene 1. Page 311.

Dull. I will play on the tabor to the worthies, and let them
dance
the hay.

This dance was borrowed by us from the French. It is classed among the
brawls in Thoinot Arbeau's Orchesographie, already mentioned in page 135.
Scene 2. Page 312.

Ros. For he hath been five thousand years a boy.

Kath. Ay, and a shrewd unhappy gallows too.

This description of Cupid is borrowed from some lines in Sidney's Arcadia, B.

ii. See them already quoted on another occasion by Dr. Farmer in Much ado
about nothing, Act III. Scene 2.
Scene 2. Page 316.
Ros. That he should be my fool, and I his fate.
Dr. Warburton's conclusion that fate here signifies death is not satisfactory.
Death would be an awkward character for Rosaline to assume, but that of
dame fortune infinitely more natural.
It must be owned that destiny and fortune are, strictly speaking, very
different characters; yet they have sometimes been confounded. Even Pindar,
as Pausanias observes, has made fortune one of the Parcæ. In Julius Cæsar,
the expression, "he is but fortune's knave," seems to resemble the present,
and to mean, "he is the servant of fortune and bound to obey her."
Shakspeare is very fond of alluding to the mockery of fortune. Thus we have

"O I am fortune's fool."

Romeo and
"Ye fools of Juliet.
fortune
."
Timon of
"I am the Athens.
natural
fool of fortune."
King Lear.
In the last of which passages a pointed allusion is made to the idiot fool. Sir J.
Suckling uses the same expression in his play of The goblins; and Hamlet
speaks of "the fools of nature," precisely in the same sense.
Scene 2. Page 327.
Bovet. Fleeter than arrows, bullets, wind, thought, swifter
things.
The word bullets is doubtless an interpolation in the manuscript by some
ignorant person who thought it more appropriate than arrows, on account of
the substitution of fire-arms for archery. It might very properly be omitted in
the text, without any diminution of editorial accuracy.
Scene 2. Page 330.

Bovet. Fair ladies mask'd are roses in their bud;

Dismask'd their damask sweet commixture shown,
Are angels vailing clouds, or roses blown.
Of the several explanations here offered of vailing, Dr. Johnson's is the best.
The poet compares a lady unmasking to an angel dispelling the clouds in his
descent from heaven to earth. The term is from the old French avaler to put
or let down; the true etymology of which appears in the phrase à mont et à
val, from top to bottom, from mountain to valley, which very often occurs in
old romances. In that of the Saint Graal, MS. we have "et avalerent aval le
vessel." In Spenser's Shepherd's calendar, under January, "By that the welked
Phœbus gan availe."
Scene 2. Page 339.
Biron. Three pil'd hyperboles.
So in Fennor's Compter's commonwealth, 1617, 4to, p. 14, we have "three
pil'd, huge Basilisco oaths, that would have torne a roring-boyes eares in a
thousand shatters."
Scene 2. Page 345.
Cost. You cannot beg us, sir.
It has been already stated that it was not the next relation only who begged
the wardship of idiots in order to obtain possession of their property, but any
person who could make interest with the sovereign to whom the legal
guardianship belongs. Frequent allusions to this practice occur in the old
comedies. In illustration of it, Mr. Ritson has given a curious story, which, as it
is mutilated in the authority which he has used, is here subjoined from a more
original source, a collection of tales, &c., compiled about the time of Charles
the First, preserved among the Harleian MSS. in the British Museum, No.
6395. "The Lord North begg'd old Bladwell for a foole (though he could never
prove him so), and having him in his custodie as a lunaticke, he carried him to
a gentleman's house, one day, that was his neighbour. The L. North and the
gentleman retir'd awhile to private discourse, and left Bladwell in the dining
roome, which was hung with a faire hanging; Bladwell walking up and downe,
and viewing the imagerie, spyed a foole at last in the hanging, and without
delay drawes his knife, flyes at the foole, cutts him cleane out, and layes him
on the floore; my L. and the gentl. coming in againe, and finding the tapestrie
thus defac'd, he ask'd Bladwell what he meant by such a rude uncivill act; he
answered Sr. be content, I have rather done you a courtesie than a wrong, for
if ever my L. N. had seene the foole there, he would have begg'd him, and so
you might have lost your whole suite." The same story, but without the
parties' names, is related in Fuller's Holy state, p. 182. Powel, in his
Attourney's academy, 1630, 4to, says, "I shall neede to give you this
monitorie instruction touching an ideot; that you be assured that yourselfe is
somewhat the wiser man before you goe about to beg him, or else never
meddle with him at all, lest you chance to play at handy-dandy, which is the
guardian or which is the foole? and the case alter, è converso, ad conversum."
In A treatise of taxes, 1667, 4to, p. 43, there is the following passage: "Now
because the world abounds with this kind of fools, (Lottery fools,) it is not fit
that every man that will may cheat every man that would be cheated; but it is
rather ordained that the sovereign should have the guardianship of these
fools, or that some favourite should beg the sovereign's right of taking
advantage of such men's folly, even as in the case of lunatics and ideots." To
this practice too, Butler alludes, in Hudibras, part iii. canto I, l. 590.

"Beg one another idiot

To guardians, ere they are begot."

Mr. Justice Blackstone, in treating of idiots, has spoken of it; and adds in a
note, that the king's power of delegating the custody of them to some subject
who has interest enough on the occasion, has of late been very rarely
exerted.
Scene 2. Page 350.

Biron. The Pedant, the Braggart, the Hedge-priest, the Fool

And the boy:—
Abate a throw at novum; and the whole world again,
Cannot prick out five such, take each one in his vein.

The game of novum or novem, here alluded to, requires further illustration to
render the whole of the above passage intelligible. It is therefore necessary to
state that it was properly called novum quinque, from the two principal throws
of the dice, nine and five; and then Biron's meaning becomes perfectly clear,
according to the reading of the old editions. The above game was called in
French quinquenove, and is said to have been invented in Flanders.
Scene 2. Page 351.
Pageant of the nine worthies.
The genuine worthies were Joshua, David, Judas Maccabeus, Hector,
Alexander, Julius Cæsar, Arthur, Charlemagne, and Godfrey of Bulloigne, or
sometimes in his room Guy of Warwick. Why Shakspeare, in the five of them
only whom he has introduced by name, has included Hercules and Pompey,
remains to be accounted for. It was a great pity to omit, on this occasion, the
very curious specimen of an ancient pageant given by Mr. Ritson, who, in
stating that nothing of the kind had ever appeared in print, seems to have
forgotten the pageants of Dekker, Middleton, and others, a list of which may
be found in Baker's Biographia dramatica, vol. ii. 270.
Scene 2. Page 353.
Biron. Your nose smells no, in this, most tender smelling
knight.
He is addressing, or rather ridiculing Alexander. Plutarch in his life of that hero
relates, on the authority of Aristoxenus, that his skin "had a marvellous good
savour, and that his breath was very sweet, in so much that his body had so
sweet a smell of itselfe that all the apparell he wore next unto his body, tooke
thereof a passing delightfull savour, as if it had been perfumed." This
Shakspeare had read in Sir Thomas North's translation.
Scene 2. Page 353.
Cost. Your lion, that holds his poll-ax sitting, &c.
The clown's Cloacinian allusion to the arms of Alexander is a wilful blunder,
for the purpose of introducing his subsequent joke about Ajax. These are the
arms themselves copied from the Roman des neuf preux, Abbeville, 1487,
folio, showing that the chair is not a chaise-perçée.
The modern patent Bramahs were in Shakspeare's time called Ajaxes. Thus in
The hospitall of incurable fooles, 1600, 4to, fo. 7: "Whoever saw so many odd
mechanicks as are at this day, who not with a geometricall spirite like
Archimedes, but even with arte surpassing the profoundest Cabalistes, who
instead of a pigeon loft, place in the garrets of houses, portable and
commodious Ajaxes." The marginal explanation comes closer to the point.
Again, "the Romans might well be numbered amongst those three-elbowed
fooles in adoring Stercutio for a God, shamefully constituting him a patron and
protector of Ajax and his commodities," fo. 6.
Scene 2. Page 360.
 Cost. I will not fight with a pole, like a northern man.
On this passage Dr. Farmer says, "Vir borealis, a clown, See glossary to Urry's
Chaucer." The Doctor's notes are generally clear and instructive, but in this
instance he is obscure. It is presumed that he intends to refer the reader to
the word borel in Urry's glossary, where it is properly explained a clown.
Whether borel be derived from borealis may be questioned; but Shakspeare in
all probability was unacquainted with this word and its etymology. Does he
not refer to the particular use of the quarter staff in the Northern counties?
Scene 2. Page 367.
Prin. As bombast, and as lining to the time.
Bombast is from the Italian bombagia, which signifies all sorts of cotton wool.
Hence the stuff called bombasine. The cotton put into ink was called
bombase. "Need you any inke and bombase?" Hollyband's Italian schole-
maister, 1579, 12mo, sign. E. 3.

THE CLOWN.
The clown in this play is a mere country fellow. The term fool applied to him
in Act V. Scene 2, means nothing more than a silly fellow. He has not
sufficient simplicity for a natural fool, nor wit enough for an artificial one.
It will probably be discovered at some future time that this play was borrowed
from a French novel. The dramatis personæ in a great measure demonstrate
this, as well as a palpable Gallicism in Act IV. Scene 1, viz. the terming a letter
a capon.
 MERCHANT OF VENICE.
ACT I.
Scene 1. Page 397.

Salar. There, where your argosies, with portly sail

Like signiors and rich burghers of the flood,
Or as it were the Pageants of the sea,
Do overpeer the petty traffickers.

Argosies are properly defined to be "ships of great burthen," and so

they are described almost wherever they are mentioned. Mr.
Steevens has quoted Rycaut's Maxims of Turkish polity, to show that
the term originated in a corruption of Ragosies, i. e. ships of Ragusa.
However specious this may appear, it is to be observed that Rycaut,
a writer at the end of the seventeenth century, only states it as a
matter of report, not as a fact; and he seems to have followed the
slight authority of Roberts's Marchant's map of commerce. If any
instance shall be produced of the use of such a word as ragosie, the
objection must be given up. In the mean time it may be permitted to
hazard another opinion, which is, that the word in question derives
its origin from the famous ship Argo: and indeed Shakspeare himself
appears to have hinted as much; for the story of Jason is twice
adverted to in the course of this play. On one of these occasions
Gratiano certainly alludes to Antonio's argosie when he says,

"We are the Jasons, we have won the fleece."

Act III. Scene 2.
Gregory of Tours has more than once made use of Argis to express a
ship generally. With respect to Ragozine, it has been contended in a
former note, page 89, that this name ought not to have been
introduced in the discussion of the present subject.
Mr. Steevens remarks that both ancient and modern editors have
hitherto been content to read "burghers on the flood;" and, on the
authority of a line in which we have "burghers of a city," he has
substituted "burghers of the flood." He might have been less inclined
to this new reading, had he recollected that the "signiors and rich
burghers on the flood" are the Venetians, who may well be said to
live on the sea. It would be difficult to discover who are the signiors
and burghers of the flood, unless they be whales and porpoises.
In calling argosies the pageants of the sea, Shakspeare alludes to
those enormous machines, in the shapes of castles, dragons, ships,
giants, &c., that were drawn about the streets in the ancient shows
or pageants, and which often constituted the most important part of
them.
Scene 1. Page 399.
Salan. Now, by two-headed Janus.
Dr. Warburton's note may well be spared in all future editions. If
Shakspeare have shown a knowledge of the antique, which he might
have obtained from his dictionary at school, the Doctor has,
unluckily, on this occasion proved himself less profound in it than
Shakspeare, or he would not have ventured to assert that the heads
of Janus were those of Pan and Bacchus, Saturn and Apollo, &c. It is
presumed that these heads will continue to perplex the learned for
many generations.
Scene 2. Page 410.
Por. If a throstle sing.
Notwithstanding the apparent difference in opinion between Messrs.
Steevens and Malone respecting this bird, they are both right. The
throstle is only a variety of the thrush, as will be seen by consulting
Mr. Pennant's Account of English birds. In The new general history of
birds, 1745, 12mo, there is an account of "the song-thrush, or
throstle;" and see Randle Holme's Academy of armory, book ii. ch.
12, no. lxxiii.
Scene 3. Page 413.
Enter Shylock.
His stage dress should be a scarlet hat lined with black taffeta. This
is the manner in which the Jews of Venice were formerly
distinguished. See Saint Didier Histoire de Venise. In the year 1581
they wore red caps for distinction's sake, as appears from Hakluyt's
Voyages, p. 179, edit. 1589. Lord Verulam, in his Essay on usury,
speaking of the witty invectives that men have made against usury,
states one of them to be "that usurers should have orange-tawny
bonnets, because they do Judaize."
Scene 3. Page 414.

Shy. He lends out money gratis, and brings down

The rate of usance here with us in Venice.

"It is almost incredyble what gaine the Venetians receive by the

usury of the Jewes, both pryvately and in common. For in everye
citee the Jewes kepe open shops of usurie, taking gaiges of ordinarie
for xv in the hundred by the yere; and if at the yeres ende the gaige
be not redemed, it is forfeite, or at the least dooen away to a great
disadvantage: by reason whereof the Jewes are out of measure
wealthie in those parties."—Thomas's Historye of Italye, 1561, 4to,
fo. 77.
Scene 3. Page 416.
Shy. He stuck them up before the fulsome ewes.
Fulsome has, doubtless, the same signification as the preceding
epithet rank, the physical reason for its application being very
generally known. "Ικτιδος pellis. Proverbium apud Germanos in
vilissimum quodque et maxime fœtidum scortum. Nam Ictis, id est
sylvestris mustela cum graviter exarserit, male olet." Erasmi Adagia.
Spenser makes one of his shepherds speak thus of a kid:

"The blossoms of lust to bud did beginne

And spring forth ranckly under his chinne."

Fulsome is from the Gothic fuls, i. e. foul, fœtid. That it sometimes

had another root, viz. full, is manifest from the line in Golding's Ovid,
whose expression "fulsome dugs" is in the original "pleno ubere,"
but is of no service on the present occasion, though quoted by Mr.
Steevens.
Scene 3. Page 418.
Shy. About my money and my usances.
Mr. Steevens asserts that use and usance anciently signified usury,
but both his quotations show the contrary. Mr. Ritson very properly
asks whether Mr. Steevens is not mistaken; and Mr. Reed,
maintaining that he is right, adduces a passage which proves him to
be wrong. A gentleman, says Wylson, borrowed 1000 pounds,
running still upon usury and double usury. "The merchants termyng
it usance and double usance, by a more clenly name," i. e. interest,
till he owed the usurer five thousand pounds, &c. The sense was
obscured by the omission of an important comma after the word
name. Mr. Malone's note was quite adequate to the purpose of
explanation.
Scene 3. Page 421.

Shy. ... seal me there

Your single bond; and in a merry sport,
If you repay me not, &c.

Thus in the ballad of Gernutus:

 "But we will have a merry jeast
For to be talked long;
You shall make me a bond, quoth he.
That shall be large and strong."

ACT II.
Scene 1. Page 423.

Mor. But let us make incision for your love,

To prove whose blood is reddest, his, or mine.

Dr. Johnson's observation that "red blood is a traditionary sign of

courage" derives support from our English Pliny, Bartholomew
Glantville, who says, after Isidorus, "Reed clothes ben layed upon
deed men in remembrance of theyr hardynes and boldnes, whyle
they were in theyr bloudde." On which his commentator Batman
remarks: "It appereth in the time of the Saxons that the manner
over their dead was a red cloath, as we now use black. The red of
valiauncie, and that was over kings, lords, knights and valyaunt
souldiours."
Scene 2. Page 426.
Laun. Do not run; scorn running with thy heels.
Mr. Steevens calls this absurdity, and introduces a brother critic, Sir
Hugh Evans, who had maintained that "he hears with ears" was
affectations: both the parties had forgotten their Bible. As to the
proposed alteration "withe thy heels," it might be asked, who ever
heard of a person binding his own heels to prevent running? Mr.
Malone has well defended the consistency of Launcelot's speech. It
may be added that in King Richard II. Act V. Scene 3, we have
"kneel upon my knees."
 Scene 2. Page 427.

Laun. Well, my conscience says—Launcelot, budge not;

budge,
says the fiend; budge not, says my conscience.

It is not improbable that this curious struggle between Launcelot's

conscience and the fiend might have been suggested by some well-
known story in Shakspeare's time, grafted on the following Monkish
fable. It occurs in a collection of apologues that remain only in
manuscript, and have been severally ascribed to Hugo of Saint
Victor, and Odo de Sheriton or Shirton, an English Cistercian Monk of
the 12th century. "Multi sunt sicut mulier delicata et pigra. Talis vero
mulier dum jacet mane in lecto et audit pulsari ad missam, cogitat
secum quod vadat ad missam. Et cum caro, quæ pigra est, timet
frigus, respondet et dicit, Quare ires ita mane, nonne scis quod
clerici pulsant campanas propter oblationes? dormi adhuc; et sic
transit pars diei. Postea iterum conscientia pungit eam quod vadat
ad missam. Sed caro respondet, et dicit, Quare ires tu tam cito ad
ecclesiam? certè tu destrueres corpus tuum si ita manè surrexeris, et
hoc Deus non vult ut homo destruat seipsum; ergo quiesce et dormi.
Et transit alia pars diei. Iterum conscientia pungit eam quod vadat
ad ecclesiam; sed caro dicit, Ut quid ires tam cito? Ego bene scio
quod talis vicina tua nondum vadit ad ecclesiam; dormi parum
adhuc. Et sic transit alia pars diei. Postea pungit eam conscientia;
sed caro dicit, Non oportet quod adhuc vadas, quia sacerdos est
curialis et bene expectabit te; attende et dormi. Et sic dormiendo
transit tempus. Et tamen ad ultimum verecundia tacita atque coacta,
surgit et vadit ad ecclesiam, et invenit portas clausas." Then follows
the moral of the fable, in which the church is repentance, the bells
the preachers. The lazy flesh prevails over conscience, till, on the
approach of death, fear dictates the sending for the priest. An
imperfect confession of sins takes place; the party dies, and the
miserable soul finds the gates of heaven shut.
Scene 5. Page 443.
 Shy. The patch is kind enough.
It has been supposed that this term originated from the name of a
fool belonging to Cardinal Wolsey, and that his parti-coloured dress
was given to him in allusion to his name. The objection to this is,
that the motley habit worn by fools is much older than the time of
Wolsey. Again, it appears that Patch was an appellation given not to
one fool only that belonged to Wolsey. There is an epigram by
Heywood, entitled A saying of Patch my Lord Cardinal's foole; but in
the epigram itself he is twice called Sexten, which was his real
name. In a manuscript life of Wolsey, by his gentleman usher
Cavendish, there is a story of another fool belonging to the Cardinal,
and presented by him to the King. A marginal note states that "this
foole was callid Master Williames, owtherwise called Patch."[12] In
Heylin's History of the reformation, mention is made of another fool
called Patch, belonging to Elizabeth. But the name is even older than
Wolsey's time; for in some household accounts of Henry the
Seventh, there are payments to a fool who is named Pechie, and
Packye. It seems therefore more probable on the whole that fools
were nick-named Patch from their dress; unless there happen to be
a nearer affinity to the Italian pazzo, a word that has all the
appearance of a descent from fatuus. This was the opinion of Mr.
Tyrwhitt in a note on A midsummer night's dream, Act III. Scene 2.
But although in the above instance, as well as in a multitude of
others, a patch denotes a fool or simpleton, and, by corruption, a
clown, it seems to have been occasionally used in the sense of any
low or mean person. Thus in the passage in A midsummer night's
dream just referred to, Puck calls Bottom and his companions a crew
of patches, rude mechanicals, certainly not meaning to compare
them to pampered and sleek buffoons. Whether in this sense the
term have a simple reference to that class of people whose clothes
might be pieced or patched with rags; or whether it is derived from
the Saxon verb pæcan, to deceive by false appearances, as
suggested by the acute and ingenious author of The diversions of
Purley, must be left to the reader's own discernment.
 Scene 7. Page 450.

Mor. ... They have in England

A coin that bears the figure of an Angel
Stamped in gold; but that's insculp'd upon;
But here an angel in a golden bed
Lies all within.

To insculp, as Mr. Steevens has observed, means to engrave, but is

here put in opposition to it, and simply denotes to carve in relief.
The angel on the coin was raised; on the casket indented. The word
insculp was however formerly used with great latitude of meaning.
Shakspeare might have caught it from the casket story in the Gesta
Romanorum, where it is rightly used: "the third vessell was made of
lead, and thereupon was insculpt this posey, &c."
Scene 7. Page 450.
Mor. Gilded tombs do worms infold.
The old editions read gilded timber; and however specious the
alteration in the text, on the ground of redundancy of measure or
defect in grammar, it might have been dispensed with. To infold is to
inwrap or contain any thing; and therefore, unless we conclude that
do is an error of the press for doth, we must adopt the other sense,
however ungrammatically expressed, and suppose the sentiment to
be, that timber though fenced or protected with gilding in still liable
to the worm's invasion. The lines cited by Mr. Steevens from the
Arcadia supports the original reading, as do the following from
Silvester's Works, edit. 1633, p. 649:

"Wealth on a cottage can a palace build,

New paint old walls, and rotten timber guild."

Scene 8. Page 453.

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