signs of cuckoldom. A mad-brain'd boy is, however, call'd a mad pash in Cheshire. STEEVENS. A rough pash seems to mean a rough hide or skin, Perhaps it comes from the plural of the French word peau, or from a corruption of the Teutonick, peltz, a pelt. TOLLET. Thou want'st a rough pash, and the shoots that I have, in connexion with the context, signifies-to make thee a calf thou must have the tuft on thy forehead, and the young horns that shoot up in it, as I have. Leontes asks the prince : "Art thou my calf? "Mam. Yes, if you will, my lord. "Leo. Thou want'st a rough pash, and the shoots that I have, "To be full like me." To pash signifies to push or dash against, and frequently occurs in old writers. Thus Drayton: "They either poles their heads together pasht.” Again, in How to choose a good Wife from a bad, 1602, 4to. When in Cheshire a pash is used for a mad-brain'd boy, it is designed to characterize him from the wantonness of a calf that blunders on, and runs his head against any thing. HENLEY. word has already occurred in Twelfth Night, and is one of the titles by which Pistol speaks of King Henry the Fifth. STEEVENS. 195. We must be neat;] Leontes, seeing his son's nose smutch'd, cries, we must be neat; then recollecting that neat is the ancient term for horned cattle, he says, not neat, but cleanly. JOHNSON. So, in Drayton's Polyolbion, song 3. "His large provision there of flesh, of fowl, of STEEVENS. 197. neat." -Still virginalling] Still playing with her fingers, as a girl playing on the virginals. JOHNSON. A virginal, as I am informed, is a very small kind of spinet. Queen Elizabeth's virginal book is yet in being, and many of the lessons in it have proved so difficult, as to baffle our most expert players on the harpsichord. "When we have husbands, we play upon them like virginal jacks, they must rise and fall to our humours, or else they'll never get any good strains of musick out of one of us." Decker's Untrussing the Humorous Poet. Again, in Ram-Alley, or Merry Tricks, 1611: "Where be these rascals that skip up and down "Like virginal jacks ?” STEEVENS. 201. Thou want'st a rough pash, and the shoots that I have,] Pash is kiss. Paz, Spanish, i.e. thou want'st a mouth made rough by a beard, to kiss with. Shoots are branches, i. e. horns. Leontes is alluding to the en signs of cuckoldom. A mad-brain'd boy is, however, call'd a mad pash in Cheshire. STEEVENS. A rough pash seems to mean a rough hide or skin. Perhaps it comes from the plural of the French word peau, or from a corruption of the Teutonick, peltz, a pelt. TOLLET. Thou want'st a rough pash, and the shoots that I have, in connexion with the context, signifies-to make thee a calf thou must have the tuft on thy forehead, and the young horns that shoot up in it, as I have. Leontes asks the prince : -How now, you wanton calf! "Art thou my calf? "Mam. Yes, if you will, my lord. "Leo. Thou want'st a rough pash, and the shoots that I have, "To be full like me." To pash signifies to push or dash against, and frequently occurs in old writers. Thus Drayton: "They either poles their heads together pasht." Again, in How to choose a good Wife from a bad, 1602, 4to. "Cleave pates and caputs." When in Cheshire a pash is used for a mad-brain'd boy, it is designed to characterize him from the wantonness of a calf that blunders on, and runs his head against any thing. HENLEY. Biij 205. -] Sir T. Hanmer 205. As o'er-dy'd blacks,understands blacks dyed too much, and therefore JOHNSON. rotten. It is common with tradesmen to dye their faded or damaged stuffs, black. O'er dy'd blacks may mean those which have received a dye over their former colour. STEEVENS. 207. No bourn] Bourn is boundary. So, in Hamlet: -from whose bourn "No traveller returns." 209. STEEVENS. -welkin-eye.] Blue eye; an eye of the same colour with the welkin, or sky. 210. King Henry VI. JOHNSON. my collop!-] So, in the First Part of "God knows, thou art a collop of my flesh." 211. Affection! thy intention stabs the centre.] Instead of this line, which I find in the folio, the modern editors have introduced another of no authority: Imagination! thou dost stab to the centre. Mr. Rowe first made the exchange. I am not certain that I understand the reading which I have restored. Affection, however, I believe, signifies imagination. Thus, in the Merchant of Venice: -affections, "Masters of passion, sway it," &c. i. e. imaginations govern our passions. Intention is, as Mr. Locke expresses it, "when the mind with great earnestness, earnestness, and of choice, fixes its view on any idea, considers it on every side, and will not be called off by the ordinary solicitation of other ideas." This vehemence of the mind seems to be what affects Leontes so deeply, or, in Shakspere's languagestabs him to the centre. STEEVENS. Affection! thy intention stabs the centre.] Does not this apostrophe mean-- -O love! thy intenseness pierces my very heart. HENLEY, 212. Thou dost make possible things not so held;] i. e. thou dost make those things possible, which are conceived to be impossible. 215. credent,] i. e. credible. for Measure, act iv. line 518. JOHNSON, See Measure STEEVENS. 223. What cheer? how is't with you, best brother?] This line seems rather to belong to the preceding short speech of Polixenes, than to Leontes, STEEVENS, 237. This squash] A squash is a pea-pod, in that state when the young peas begin to swell in it. HENLEY. 238. Will you take eggs for money?] I meet with Shakspere's phrase in a comedy called A Match at Midnight, 1633:"I shall have eggs for my money; I must hang myself." STEEVENS. Mr. Reed supposes that Leontes here asks his son, if he would fly from an enemy; and adduces the follow ing passage to support this sense of the phrase. "The French infantery skirmisheth bravely afarre off, and the cavallery gives a furious onset at the first charge; but |