3. Sanguis in blood. Changed by Capell to "in sanguis, blood." In blood was a term of the chase = in full vigour. Cf. 1 Hen. VI. iv. 2. 48: "If we be English deer, be then in blood," etc.
4. Pomewater. A kind of apple. Steevens quotes an old ballad: "Whose cheeks did resemble two rosting pomewaters." In The Puritan, "the pomewater of his eye" is = the apple of his eye.
10. A buck of the first head. According to The Return from Parnassus,
1606 (quoted by Steevens) "a buck is the first year, a fawn; the second year, a pricket; the third year, a sorrell; the fourth year, a soare; the fifth, a buck of the first head; the sixth year, a compleat buck."
17. Unconfirmed. Inexperienced, ignorant; as in Much Ado, iii. 3. 124: "That shows thou art unconfirmed."
21. Twice-sod. Sod, like sodden, is the participle of seethe. Cf. R. of L. 1592: "sod in tears," etc. Twice-sod simplicity = concentrated stupidity, as if boiled down.
28. Which we, etc. In the folio this reads: "which we taste and feeling, are for those parts," etc. Various emendations have been proposed, of which Tyrwhitt's in the text seems the best, and is adopted by the
majority of recent editors.
30. Patch. A play on the word in its sense of fool, for which see M. of V. p. 142, or M. N. D. p. 160. Johnson says: "The meaning is, to be in a school would as ill become a patch as folly would become me." The
Coll. M S. has "set" for see.
35. Dictynna. One of the names of Diana. The early eds. have "Dictisima" or "Dictissima" here, and "Dictima" or "Dictinna" in the next line. Steevens suggests that S. may have found the word in Golding's Ovid: "Dictynna garded with her traine, and proud of killing deere."
39. Raught. An old past, tense and participle of reach. For its use as the former, cf. Hen. V. iv. 6. 21; and as the latter, A. and C. iv. 9. 30. The folios have "wrought" here, the 1st quarto "rought."
40. The allusion holds in the exchange. "The riddle is as good when I use the name of Adam as when I use the name of Cain" (Warb.). Mr. Brae takes allusion to be used in the strict Latin sense of "play, joke, or jest," and makes exchange = "the changing of the moon."
52. Affect the letter. "Practise alliteration" (Mason). For another satire on this affectation of the time, cf. M. N. D. v. 1. 145 fol.; and see our ed. p. 184.
54. Preyful. The 2d folio has "praysfull."
55. Some say a sore. For sore, or soare, as applied to a deer "of the fourth year," see on 10 above; also for sorel in the next line.
58. O sore L. The 1st quarto has "o sorell," and the folios "O sorell." The reading in the text is Capell's, and is generally adopted. The Camb. ed. has "makes fifty sores one sorel," which is plausible and perhaps favoured by the next line.
61. If a talent be a claw. The play on talent and talon is obvious. The latter word was sometimes written talent. Malone cites, among other instances, Marlowe's Tamburlaine, 1590:
"and now doth ghastly death
With greedy tallents gripe my bleeding heart."
Claw was sometimes = humour, flatter. Cf. Much Ado, 1.3. 18: "claw no man in his humour;" and see our ed. p. 126.
67. Pia mater. The membrane covering the brain, used for the brain itself; as in T. N. i. 5. 123 and T. and C.. ii. 1. 77. Here the early eds. have "primater;" corrected by Rowe. Upon the mellowing of occasion. At "the very riping of the time" (M. of V. ii. 8. 40), or when the fit occasion comes.
78. Person. "Parson" (the reading of the 2d folio). Steevens quotes Holinshed: "Jerom was vicar of Stepnie, and Garrard was person of Honielane," etc. St. adds from Selden, Table Talk: "Though we write
Parson differently, yet 't is but Person; that is, the individual Person set
apart for the service of the Church, and 't is in Latin Persona, and Personatus is a Personage" For the play on pierce (which was perhaps pronounced perse), cf. I Hen. IV. p. 201, note on I'll pierce him.
90. Mantuan. Giovanni Battista Spagnuoli (or Spagnoli), named Mantuanus from uis birthplace, who died in 1516, was the author of certain
Eclogues which the pedants of that day preferred to Virgil's, and which
were read in schools. The 1st Eclogue begins with the passage quoted by Holofernes. Malone quotes references to Mantuanus from Nash and Drayton. A translation of his Latin poems by George Turbervile was printed in 1567.
92. Venelia, etc. In the folio this reads: "vemchie, vencha, que non te vnde, qne non te perreche," which exactly follows the 1st quarto. The text is taken by the Camb. editors from Florio's Second Frutes, 1591, whence the poet probably got it. There it has the second line, "Ma chi te vede,
ben gli costa." In Howell's Letters, it appears with a translation, thus:
"Venetia, Venetia, chi non te vede, non te pregia,
Ma chi t' ha troppo veduto te dispregia.
Venice, Venice, none thee unseen can prize;
Who thee hath seen too much, will thee despise."
It is usually printed in the form in which Theo. gives it:
Chi non te vede, ei non te pregia."
105. Bias. Originally a term in bowling, See Ham. p. 200 (on Assays the bias), or T. of S. p. 167 (on Against the bias).
111. Thy voice, etc. Malone compares A. and C. v. 2. 83:
"his voice was propertied
As all the tuned spheres, and that to friends;
But when he meant to quail and shake the orb,
He was as rattling thunder."
115. You find not the apostrophas. K. understands this to refer to the apostrophes in vow'd and bow'd (102 and 104 above), and therefore prints these "vowed" and "bowed."
116-122. Here are only, etc. The early eds. give this to Nathaniel;
corrected by Theo.
120. Imitari. To imitate. The early eds. have "imitarie," with no point before it, and the Coll. MS. reads "imitating."
121. The tired horse. The early eds. have "tyred" for tired. Theo. reads "try'd," and Capell "tired." Heath conjectures "trained." It is probably another allusion to Bankes's horse (see on i. 2. 52 above), as Farmer explains it; tired being = "adorned with ribbons."
123. Ay, sir, from one Monsieur Biron. " S. forgot himself in this passage. Jaquenetta knew nothing of Biron, and had said just before that the letter had been sent to her from Don Armado and given to her by
133. Royal. The word is only in the 1st quarto.
134. Stay not thy compliment; I forgive thy duty. That is, do not tarry to make any formal obeisance; I excuse you from that. Cf. M. N. D. iv. I. 21: "Pray you, leave your courtesy, good mounsieur." Cf. p. 155,
note on 87.
141. Colourable colours. "That is, specious or fair-seeming appearances" (Johnson); or "false pretexts" (Schmidt).
146. Before repast. As in 1st quarto; "beins; repast" in folios, has "bien vonuto," and the Camb. editors conjecture "bien venu too."
154. Certes. Certainly. Cf. Temp. iii. 3. 30, C. of E. iv. 4. 78, etc.
Schmidt considers it monosyllabic in Hen. VIII, i. i. 48 and Oth. i. 1. 16.
156. Pauca verba. Few words (Latin).
How to cite the explanatory notes:
Shakespeare, William. Love's Labour's Lost. Ed. William Rolfe. New York: Harper & Brothers, 1899. Shakespeare Online. 10 Aug. 2013. < http://www.shakespeare-online.com/plays/LLL_4_2.html >.
How to cite the sidebars:
Coleridge, Samuel Taylor. Essays and Lectures on Shakespeare. London: J. M. Dent, 1907. Shakespeare Online. 10 Aug. 2013. < http://www.shakespeare-online.com/plays/LLL_4_2.html >.
Coleridge on Love's Labour's Lost
"This sort of story, too, was admirably suited to Shakspeare's times, when the Enghsh court was still the foster-mother of the state, and the muses; and when, in consequence, the courtiers, and men of rank and fashion, affected a display of wit, point, and sententious observation, that would be deemed intolerable at present, -- but in which a hundred years of controversy, involving every great political, and every dear domestic, interest, had trained all but the lowest classes to participate. Add to
this the very style of the sermons of the time, and the eagerness of the Protestants to distinguish themselves by long and frequent preaching, and it will be found that, from the reign of Henry VIII. to the abdication of James II. no country ever received such a national education as England." (Coleridge, Essays and Lectures on Shakespeare, p. 72)