網頁圖片
PDF
ePub 版

EVERLASTING GARMENT, alluding to "the buff jerkin" of the sergeant,-"a suit of durance" as it was called; IV. ii. 33. EXCREMENT, outgrowth (applied to hair); II. ii. 79. EXEMPT, separated; II. ii. 173.

FAIR, fairness, beauty; II. i. 98. FAITH; "breast

[ocr errors]

of faith”; (“flint” has been adopted by some editors, but there is not sufficient reason for the change; by faith men resisted a witch's power); III. ii. 153. FALL, let fall; II. ii. 127. FALSING, (?) apt to be falsified; II. ii. 95.

FINE AND RECOVERY, a legal term, said to be "the strongest assurance known to English law"; II. ii. 75.

FINGER, "to put the f. in the eye," i. e. "to weep in a childish way"; II. ii. 206.

FLY PRIDE, "a proverbial phrase, by which Dromio rebukes the woman, whom he thinks a cheat, for accusing his master of cheating"; IV. iii. 85. FOLDED, Concealed; III. ii. 36. FOND, doting; II. i. 116. FONDLY, foolishly; IV. ii. 57. FOOL-BEGG'D, foolishly begged or demanded; II. i. 41.

FORMAL, ordinary, rational; V.

i. 105.

FORSWORE, "forswore to have,"

i. e. "swore that he did not have"; V. i. 11.

FORTH, "to find f." i. e. "to find out"; I. ii. 37; away from home; II. ii. 212. FOR WHY, because; III. ii. 105. FRAUGHTAGE, freight; IV. i. 87.

[merged small][ocr errors][merged small][merged small][merged small]

(others explain the phrase as equivalent to "well now"); IV. iv. 22.

Gossip, make merry; V. i. 407. GOSSIPING, merry-making (with a probable reference to original sense, a sponsors' feast); V. i. 419.

GOSSIPS, sponsors; V. i. 405. GRAIN, "in grain," i. e. "ingrained, deeply dyed"; III. ii. 108.

GRAINED, furrowed (like the grain of wood); V. i. 311. GROWING, accruing; IV. i. 8. GUILDERS, Dutch coins of the value of about two shillings; used in a general sense for "money"; I. i. 8.

HARLOTS, lewd fellows; V. i. 205. HATCH, half-door, wicket; III. i. 33.

HEALTHFUL, full of safety; I. i.

115.

HEART'S METEORS, "alluding to those meteors in the sky (the aurora borealis) which have the appearance of lines of armies meeting in the shock"; IV. ii. 6.

HEIR (with a play upon hair, cf.

Preface); III. ii. 127.

HELL, used quibblingly; the cant term for an obscure dungeon; IV. ii. 40.

HELPLESS, unavailing; II. i. 39.
HIS, its; II. i. 110.

HIT OF, hit on, guess; III. ii. 30.

HOLP, helped; IV. i. 22. HORN-MAD, "mad like a wicked bull; generally used with a reference to cuckoldry"; II. i. 58. HOST, "lay at h. in," i. e. "were put up at"; V. i. 410. HOST, lodge; I. ii. 9.

Hoy, a small vessel, a kind of sloop; IV. iii. 42.

IMPEACH, impeachment; V. i.

269.

IMPORTANT, importunate; V. i.

138.

INSTANCE, indication; I. i. 65. INTESTINE, internal; I. i. 11.

JEST UPON, trifle with; II. ii. 28. JUDGMENT, "before the J." there is perhaps a quibbling allusion in the phrase to what is called mesne-process; IV. ii. 40.

KITCHEN'D, entertained in the kitchen; V. i. 415.

LAPLAND; Shakespeare's sole reference to Lapland sorcerers (cp. Milton's "Lapland witches"); IV. iii. 11.

LASH'D, Scourged (with perhaps

a reference to "lashed" in the sense of "fastened, bound"); II. i. 15.

LETS, hinders; II. i. 105. LIBERTIES, libertinisms, "l. of sin,"

i. e. "licensed offenders"; I. ii. 102.

LIGHT, wanton (used equivo

cally); IV. iii. 52.

LIMBO, a cant term for "prison,” properly, "hell," or "the borders of hell"); IV. ii. 32. LOVE-SPRINGS, shoots of love; III. ii. 3.

MACE, a sergeant's club; IV. iii.

29.

MADE, barred; III. i. 93.

MAKING, Outward form; IV. ii.
22.
MALT-HORSE, a dull, heavy horse,
like a brewer's, used contemp-
tuously; III. i. 32.
MATED, used quibblingly in the
sense of "confounded," and
"given as a mate"; III. ii. 54.
MERMAID, siren; III. ii. 45.
MICKLE, much; III. i. 45.
MINION, favorite (used contemp-
tuously), darling; IV. iv. 66;
pl. II. i. 87.

MOME, buffoon; III. i. 32.
MOOD, anger; II. ii. 172.
MORRIS-PIKE, a Moorish pike; IV.
iii. 29.

MORTAL, deadly; I. i. 11.
MOTIONS, proposals; I. i. 60.
MOVES, appeals to; II. ii. 183.

NATURE, natural affection; I. i. 35.

NEW-APPARELLED (vide Notes); ( IV. iii. 14.

NICKS, "n. him like a fool," alluding to the old custom of shaving, nicking, or notching the head of a professional buffoon; V. i. 175.

O'er-raught, overcalled, cheated; I. ii. 96.

OF, out of, from; I. i. 131; "wreck of sea" (so first Folio, the rest "at sea") = off, out at sea; V. i. 49.

ON, "on night,” i. e. “a-night"; V. i. 210.

ONCE THIS; "so much is certain"; III. i. 89.

ORDER, measures; V. i. 146. OTHER, "no other cause," i. e.

"no cause to be otherwise"; II. 1. 33.

OWE, own; III. i. 42.

PACK'D, leagued; V. i. 219. PARCEL, part; V. i. 106. PART, depart; III. i. 67. PARTIAL, “I am not p. to infringe," i. e. "I am not so inclined in your behalf as to infringe"; I. i. 4.

PASSAGE, the going to and fro of

people; III. i. 99.

PATCH, fool, jester; III. i. 32. PEASANT, servant; V. i. 231. PEEVISH, foolish; IV. i. 93. PENITENT, doing penance; I. ii.

52.

PERDIE, par dieu! IV. iv. 77
PERFORCE, by force; IV. iii. 99.
PERUSE, survey; I. ii. 13.
PLAININGS, Wailings; I. i. 73.
PLEASE, pay; IV. iv. 52.
PORPENTINE, Porcupine (the only
form of the word used by
Shakespeare); III. i. 116.
POST, post-haste; I. ii. 63.
POST, used quibblingly; an allu-
sion to keeping the score by
chalk or notches on a post;
I. ii. 64.

PRESENTLY, immediately; III. ii.

156.

QUIT, remit; I. i. 23.

RAG, shred, particle; IV. iv. 92. REST; "sets up his rest"; Dromio plays on "rest," "arrest," and a metaphor, "setting up his rest," taken from gaming, and meaning "staking his all" upon an event; IV. iii. 28. REVERTED, turned back; III. ii. 126.

ROAD, harbor; III. ii. 156.

ROUND, used quibblingly in the

sense of (1) "spherical," and (2) "plain-spoken"; II. i. 82. RUNS COUNTER, follows the scent backward instead of forward; with a play perhaps upon "Counter," the name of two London prisons; IV. ii. 39.

SCONCE, a helmet (originally a small fort, bulwark), applied also to the head itself; I. ii. 79; II. ii. 34; II. ii. 37. SCORCH, excoriate; V. i. 183. SEASON, Opportunity; "to s."= "at the opportune time"; IV. ii. 58. SEMBLANCE (trisyllabic); V. i.

358.

SENSIBLE (used equivocally in

ordinary sense and in sense of "sensitive"); IV. iv. 28.

SERE, dry, withered; IV. ii. 19. SHAPELESS, unshapely; IV. ii. 20. SHRIVE, call to confession; II. ii. 210. SINKING-RIPE, ripe for sinking, ready to sink; I. i. 78. SIR-REVERENCE, a corruption of "save-reverence" (contracted into "sa'reverence") a translation of Lat. salvâ reverentiâ; save-reverence or save your reverence was considered "a sufficient apology for anything indecorous"; III. ii. 93.

SOB (first folio reads "fob," i. e. sob, probably an error for "fob," which was used by Elizabethan writers in the sense of a slight blow); IV. iii. 25. SOON, nearly; "s. at five o'clock," i. e. "about five o'clock"; I. ii. 26. SOOTHE, humor; IV. iv. 85. SORRY, pitiable, sad; V. i. 121.

Sor, dolt; II. ii. 196.

SOUR (dissyllabic; "sower" in the Folios); V. i. 45. SPITE, vexation; IV. ii. 8. SPOON-MEAT (used equivocally, to introduce allusion to the proverb, "he must have a long spoon that must eat with the devil"; IV. iii. 65.

STALE, "second woman," the one to fall back on if another is not to be had; II. i. 101. STANDS UPON, concerns; IV. i. 68. STIGMATICAL, marked or stigma

tized with deformity; IV. ii. 22. STOMACH, appetite; I. ii. 49. STRAY'D, caused to stray; V. i. 51. STRONG; "s. escape," i. e. “escape

effected by strength, or violence"; V. i. 148. STRUMPETED, made a strumpet of; II. ii. 146.

STUFF, baggage; IV. iv. 156. SUPPOSED, conjectured; III. i. 101.

SUSPECT, suspicion; III. i. 87. SYMPATHIZED, mutually suffered; V. i. 397.

TAKE; “t. a house,” i. e. "take sanctuary in a house"; V. i. 36.

TARTAR, Tartarian; it is noteworthy that Tartarian was a cant term for "thief"; IV. ii. 32.

TILTING, V. HEART'S METEORS.
TIMELY, speedy; I. i. 139.
TIRING, attiring; II. ii. 99.
To, of; III. ii. 170.

TOOK ON HIM AS, pretended to be; V. i. 242.

TRAIN, entice; III. ii. 45.
TURN I THE WHEEL; "there is

comprehended, under the curs
of the coarsest kind, a certain
dog in kitchen service excel-

lent; for when any meat is to be roasted, they go into a wheel, which they turning round about with the weight of their bodies, so diligently look to their business, that no drudge nor scullion can do the feat more cunningly" (Topsell, History of Four-footed beasts, 1607); III. ii. 153.

UNDERSTAND (used quibblingly with a play upon "understand" ="stand under"); II. i. 49. UNGALLED, unblemished; III. i. 102.

UNHAPPY, mischievous; IV. iv. 130.

UNTUNED, discordant; V. i. 310.

VAIN, light of tongue; III. ii. 27. VILLAIN (used good-humoredly); I. ii. 19.

VULGAR, public; III. i. 100.

WAFTAGE, passage; IV. i. 95. WAFTS, beckons; II. ii. 111. WEEK; perhaps with a play upon "wick" (pronounced like “week”); III. ii. 103. WELL-ADVISED, acting with due deliberation, in right mind; II. ii. 215.

WHEN? CAN YOU TELL? “a proverbial inquiry indicating the improbability that the person addressed will get what he asks"; III. i. 52.

WHEN AS, whenas, i. e. when; IV. iv. 143.

WHETHER (monosyllabic, printed "whe'r" in the Folios); IV. i. 60.

WINK, to shut the eyes; III. ii. 58.

WONT, is wont (to bear); IV. iv. 4.0.

STUDY QUESTIONS

By ANNE THROOP CRAIG

GENERAL

1. What is the earliest reference to this play? 2. What points of external evidence are helpful in fixing the time of this play's writing?

3. From what is the main plot derived?

4. Indicate the leading points of difference between the Latin farce and this play?

5. What characteristic Shakespearean element does the Egeon episode introduce?

6. From what point of view and in what way may the Comedy of Errors be regarded as a triumph of the New Romantic Drama over its opponents?

7. What are the evidences in the play itself that it is one of the poet's earliest performances?

8. What makes this play more diverting than the Menæchmi of Plautus?

9. In what more natural way than by a prologue does Shakespeare sketch the foundation story of the play? 10. Distinguish a farce from a comedy.

11. Is development of character to be expected in such a play as this? Give reasons.

12. What does Coleridge have to say of this farce?

13. What is the effect of Shakespeare's use of seriously impending tragic events in his early comedies? Cite and compare instances.

14. In what way are Luciana's passages distinctive? 15. How does Pinch accord with the setting of the play? 16. Why is Adriana a notable instance of the Poet's

« 上一頁繼續 »