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VIN. Art thou his father?

PED, Ay, sir; so his mother says, if I may believe her.

PET. Why, how now, gentleman! [To VINCEN.] why, this is flat knavery, to take upon you another man's name.

PED. Lay hands on the villain; I believe, 'a means to cozen somebody in this city under my

countenancè.

Re-enter BIOndello.

BION. I have seen them in the church together; God send 'em good shipping!-But who is here? mine old master, Vincentio? now we are undone, and brought to nothing.

VIN. Come hither, crack-hemp.

[Seeing BIONDELLÓ.

BION. I hope, I may choose, sir. VIN. Come hither, you rogue; What, have forgot me?

you

BION. Forgot you? no, sir: I could not forget you, for I never saw you before in all my life.

VIN. What, you notorious villain, didst thou never see thy master's father, Vincentio ?"

that Lucentio's father is come from Pisa, as indeed they necessarily must; the point in dispute is, whether he be at the door, or looking out of the window. TYRWHITT.

I suspect we should read-from Mantua, from whence the Pedant himself came, and which he would naturally name, supposing he forgot, as might well happen, that the real Vincentio was of Pisa. In The Two Gentlemen of Verona, Padua and Verona occur in two different scenes, instead of Milan. MALONE. 5thy master's father, Vincentio?] Old copy-thy mistress' father. Corrected by the editor of the second folio.

MALONE.

BION. What, my old, worshipful old master? yes, marry, sir; see where he looks out of the window. [Beats BIONDELLO.

VIN. Is't so, indeed?

BION. Help, help, help! here's a madman will murder me.

PED. Help, son! help, signior Baptista!

[Exit.

[Exit, from the window.

PET. Pr'ythee, Kate, let's stand aside, and see

the end of this controversy.

[They retire.

Re-enter Pedant below; BAPTISTA, TRANIO, and Servants.

TRA. Sir, what are you, that offer to beat my servant?

VIN. What am I, sir? nay, what are you, sir?O immortal gods! O fine villain! A silken doublet! a velvet hose! a scarlet cloak! and a copatain hat!"—O, I am undone! I am undone! while I play the good husband at home, my son and my servant spend all at the university.

TRA. How now! what's the matter?

a copatain hat!] is, I believe, a hat with a conical crown, such as was anciently worn by well-dressed men.

JOHNSON.

This kind of hat is twice mentioned by Gascoigne. See Hearbes, p. 154:

"A coptankt hat made on a Flemish block."

And again, in his Epilogue, p. 216:

"With high copt hats, and feathers flaunt a flaunt."

In Stubbs's Anatomie of Abuses, printed 1595, there is an entire chapter" on the hattes of England," beginning thus:

"Sometimes they use them sharpe on the crowne, pearking up like the speare or shaft of a steeple, standing a quarter of a yard above the crowne of their heads," &c. STEEVENS.

BAP. What, is the man lunatick?

TRA. Sir, you seem a sober ancient gentleman by your habit, but your words show you a madman: Why, sir, what concerns it you, if I wear pearl and gold? I thank my good father, I am able to maintain it.

VIN. Thy father? O, villain! he is a sail-maker in Bergamo.'

BAP. You mistake, sir; you mistake, sir: Pray, what do you think is his name?

VIN. His name? as if I knew not his name: I have brought him up ever since he was three years old, and his name is-Tranio.

PED. Away, away, mad ass! his name is Lucentio; and he is mine only son, and heir to the lands of me, signior Vincentio.

VIN. Lucentio! O, he hath murdered his master!-Lay hold on him, I charge you, in the duke's name:-O, my son, my son !-tell me, thou villain, where is my son Lucentio ?

7

TRA. Call forth an officer: [Enter one with an

a sail-maker in Bergamo.] Ben Jonson has a parallel passage in his Alchemist:

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you do resemble

"One of the Austriack princes.

"Face. Very like:

"Her father was an Irish costarmonger."

Again, Chapman, in his Widow's Tears, a comedy, 1612:

66 - he draws the thread of his descent from Leda's distaff, when 'tis well known his grandsire cried coney-skins in Sparta." STEEVENS.

Call forth an officer: &c.] Here, in the original play, the Tinker speaks again:

"Slie. I say weele have no sending to prison.

"Lord. My lord, this is but the play; they're but in jest. "Slie. I tell thee Sim, weele have no sending

Officer.] carry this mad knave to the gaol:-Father Baptista, I charge you see, that he be forthcoming.

VIN. Carry me to the gaol!

GRE. Stay, officer; he shall not go to prison. BAP. Talk not, signior Gremio; I say, he shall go to prison.

GRE. Take heed, signior Baptista, lest you be coney-catched in this business; I dare swear, this is the right Vincentio.

PED. Swear, if thou darest.

GRE. Nay, I dare not swear it.

TRA. Then thou wert best say, that I am not Lucentio.

GRE. Yes, I know thee to be signior Lucentio. BAP. Away with the dotard; to the gaol with him.

VIN. Thus strangers may be haled and abus'd :O monstrous villain!

Re-enter BIONDELLO, with LUCENTIO, and
BIANCA.

BION. O, we are spoiled, and-Yonder he is; deny him, forswear him, or else we are all undone.

"To prison, that's flat; why Sim, am not I don Christo Vari? "Therefore, I say, they shall not goe to prison.

"Lord. No more they shall not, my

66 They be runne away.

lord:

"Slie. Are they run away, Sim? that's well:

"Then gis some more drinke, and let them play againe. "Lord. Here, my lord." STEEVENS.

- coney-catched—] i. e. deceived, cheated. STEEVENS. VOL. IX.

N

Luc. Pardon, sweet father.

[Kneeling.

VIN.

Lives my sweetest son?

[BIONDELLO, TRANIO, and Pedant run out.1

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Here's Lucentio,

Right son unto the right Vincentio ;

That have by marriage made thy daughter mine, While counterfeit supposes blear'd thine eyne."

1

run out.] The old copy says-as fast as may

be.

RITSON.

While counterfeit supposes blear'd thine eyne.] The modern editors read supposers, but wrongly. This is a plain allusion to Gascoigne's comedy entitled Supposes, from which several of the incidents in this play are borrowed. TYRWHITT.

This is highly probable; but yet supposes is a word often used in its common sense, which on the present occasion is sufficiently commodious. So, in Greene's Farewell to Folly, 1617:

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with Plato to build a commonwealth on supposes." Shakspeare uses the word in Troilus and Cressida: "That we come short of our suppose so far," &c. It appears likewise from the Preface to Greene's Metamorphosis, that supposes was a game of some kind: "After supposes, and such ordinary sports, were past, they fell to prattle," &c. Again, in Drayton's Epistle from King John to Matilda:

"And tells me those are shadows and supposes."

To blear the eye, was an ancient phrase signifying to deceive. So, in Chaucer's Manciple's Tale, v. 17,202, Mr. Tyrwhitt's edit: "For all thy waiting, blered is thin eye."

Again, in the 10th pageant of The Coventry Plays, in the British
Museum, MS. Cott. Vesp. D. VIII:

"Shuld I now in age begynne to dote,
"If I chyde, she wolde clowte my cote,
"Blere mine ey, and pyke out a mote."

STEEVENS.

The ingenious editor's explanation of blear the eye, is strongly supported by Milton, Comus, v. 155:

"Spells

"Of power to cheat the

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