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While she chats him: the kitchen malkin' pins be inferred from the following passage in The Hospital for London's Follies, 1602, where Gossip Luce says: “Your darling will weep itself into a Rapture, if you take not good heed."
STEEVENS. In Troilus and Cressida, raptures signifies ravings :
her brainsick raptures “ Cannot distaste the goodness of a quarrel.” I have not met with the word rapture in the sense of a fit in any book of our author's age, nor found it in any Dictionary previous to Cole's Latin Dictionary, 1679. He renders the word by the Latin ecstasis, which he interprets a trance. However, the rule-de non apparentibus et de non existentibus eadem est ratio-certainly does not hold, when applied to the use of words. Had we all the books of our author's age, and had we read them all, it then might be urged.—Drayton, speaking of Marlowe, says his raptures were “ all air and fire.' MALONE.
— the kitchen malkin—] A maukin, or malkin, is a kind of
mop made of clouts for the use of sweeping ovens : thence a frightful figure of clouts dressed up: thence a dirty wench.
HANMER. Maukin in some parts of England signifies a figure of clouts set up to fright birds in gardens: a scare crow. P.
Malkin is properly the diminutive of Mal (Mary); as Wilkin, Tomkin, &c. In Scotland, pronounced Maukin, it signifies a hare. Grey, malkin (corruptly grimalkin) is a cat.
The kitchen malkin' is just the same as the kitchen Madge or Bess : the scullion. Ritson.
Minsheu gives the same explanation of this term, as Sir T, Hanmer has done, calling it “ an instrument to clean an oven, now made ofold clowtes.” Theetymology which Dr. Johnson has given in his Dictionary --“Malkin, from Mal or Mary, and kin, the diminutive termination," - is, I apprehend, erroneous. The kitchen-wench very naturally takes her name from this word, a scullion ; another of her titles, is in like manner derived from escouillon, the French term for the utensil called a malkin.
MALONE. After the morris-dance degenerated into a piece of coarse buffoonery, and Maid Marian was personated by a clown, this once elegant Queen of May obtained the name of Malkin. To this Beaumont and Fletcher allude in Monsieur Thomas :
“ Put on the shape of order and humanity,
Her richest lockram 8 'bout her reechy neck, Clambering the walls to eye him: Stalls, bulks,
windows, Are smother'd up, leads fill'd, and ridges hors'd With variable complexions; all agreeing In earnestness to see him: seld-shown flamens 1 Do press among the popular throngs, and puff To win a vulgar station :: our veild dames
Maux, a corruption of malkin, is a low term, still current in several counties, and always indicative of a coarse vulgar wench.
ŠTEEVENS. 8 Her richest lockram &c.] Lockram was some kind of cheap linen. Greene, in his Vision, describing the dress of a man, says:
“ His ruffe was of fine lockeram, stitched very faire with Coventry blue.”
Again, in The Spanish Curate of Beaumont and Fletcher, Diego says:
“ I give per annum two hundred ells of lockram,
“ That there be no straight dealings in their linnens." Again, in Glapthorne's Wit in a Constable, 1639:
“ Thou thought’st, because I did wear lockram shirts,
“ I had no wit.” STEEVENS. 9 her reechy neck,] Reechy is greasy, sweaty. So, in Hamlet : “ — a pair of reechy kisses.” Laneham, speaking of “ three pretty puzels" in a morris-dance, says they were “az bright az a breast of bacon,” that is, bacon hung in the chimney: and hence reechy, which in its primitive signification is smoky, came to imply greasy. Ritson.
- seld-shown flamens-] i. e. priests who seldom exhibit themselves to publick view. The word is used in Humour out of Breath, a comedy, by John Day, 1607:
“O seld-seen metamorphosis." The same adverb likewise occurs in the old play of Hieronimo:
Why is not this a strange and seld-seen thing?” Seld is often used by ancient writers for seldom. STEEVENS.
La vulgar station :] A station among the rabble. So, in The Comedy of Errors:
“ A vulgar comment will be made of it.” MALONE. A vulgar station, I believe, signifies only a common standingplace, such as is distinguished by no particular convenience.
Commit the war of white and damask, in
3 Commit the war of white and damask, in
Their nicely-gawded cheeks,] Dr. Warburton, for war, absurdly reads-ware. Malone.
Has the commentator never heard of roses contending with lilies for the empire of a lady's cheek? The opposition of colours, though not the commixture, may be called a war. JOHNSON. So, in Shakspeare's Tarquin and Lucrece:
« The silent war of lilies and of roses,
“ Which Tarquin view'd in her fair face's field.” Again, in The Taming of the Shrew :
“ Such war of white and red," &c. Again, in Chaucer's Knight's Tale, Mr. Tyrwhitt's edit. v. 1040:
“ For with the rose colour strof hire hewe.” Again, in Damætas' Madrigal in Praise of his Daphnis, by John Wootton; published in England's Helicon, 1600:
“ Amidst her cheekes the rose and lilly strive.” Again, in Massinger's Great Duke of Florence :
the lillies “ Contending with the roses in her cheek.” STEEVENS. Again, in our author's Venus and Adonis :
“ To note the fighting conflict of her hue,
MALONE. Cleaveland introduces this, according to his quaint manner:
“ Between her York and Lancaster.” FARMER. * As if that whatsoever god,] That is, as if that god who leads him, whatsoever god he be. Johnson. So, in our author's 26th Sonnet:
6. Till whatsoever star that guides my moving,
“ Points on me graciously with fair aspéct." Again, in Antony and Cleopatra:
he hath fought to-day,
And gave him graceful posture.
On the sudden,
Then our office may, During his power, go sleep.
Sic. He cannot temperately transport his honours From where he should begin, and end;' but will Lose those that he hath won. BRU.
In that there's comfort. Sic. Doubt not, the commoners, for whom we
stand, But they, upon their ancient malice, will Forget, with the least cause, these his new honours; Which that he'll give them, make as little ques
tion As he is proud to do’t.6 BRU.
I heard him swear,
s From where he should begin, and end ;] Perhaps it should be read:
From where he should begin t’an end. Johnson. Our author means, though he has expressed himself most licentiously, he cannot carry his honours temperately from where he should begin to where he should end. The word transport includes the ending as well as the beginning. He cannot begin to carry his honours, and conclude his journey, from the spot where he should begin, and to the spot where he should end." I have no doubt that the text is right.
The reading of the old copy is supported by a passage in Cymbeline, where we find exactly the same phraseology:
“ That we shall make in time, from our hence going
" AND our return, to excuse. where the modern editors read-Till our return. MALONE.
6 As he is proud to do't.] Proud to do, is the same as, proud of doing. Johnson.
As means here, as that. MALONE.
Were he to stand for consul, never would he
'Tis right. BRU. It was his word: 0, he would miss it,
rather Than carry it, but by the suit o'the gentry to him, And the desire of the nobles. SIC.
I wish no better, Than have him hold that purpose, and to put it In execution.
BRU. 'Tis most like, he will.
Sic. It shall be to him then, as our good wills; A sure destruction, BRU.
So it must fall out To him, or our authorities. For an end,
The napless vesture--] The players read—the Naples
STEEVENS. The correction was made by Mr. Rowe. By napless Shakspeare means thread-bare. So, in King Henry VI.P.II: “Geo. I tell thee, Jack Cade the clothier means to dress the commonwealth, and turn it, and set a new nap upon it.
John. So he had need; for 'tis thread-bare."
Plutarch's words are “with a poore gowne on their backes." See
p. 96, n. 1. MALONE. s It shall be to him then, as our good wills; A sure destruction.] This should be written will's, for will is.
TYRWHITT. It shall be to him of the same nature as our dispositions towards him; deadly. MALONE.
Neither Malone nor Tyrwhitt have justly explained this passage. The word-wills is here a verb; and as our “good wills" means, “as our advantage” requires. M. Mason.