Davies calls Elizabeth "lodestone to all hearts and lodestar to all eyes." See also Steevens's note on the above passage.] [206] [The lines between brackets represent Jonson's additions to the original text.] [207] _Unleavell'd_, 1623, '33. [208] _Cares_, ditto. [209] [Old copies-- "And his great mind, too full of honour, Took him us to mercy that," &c. Even as altered (perhaps for the better), the text is rather questionable.] [210] _Next_, omitted, 1618, '23, '33. [211] _Importune_, 1618, '23. [212] _Whose palefull humours if you but behold_, 1618, '23, '33. [213] _That's_, ditto. [214] [A proverbial expression.] [215] [This line is ridiculed by Shakespeare in the induction to the "Taming of the Shrew," and by other poets of the time, as in Decker's "Satiromastix," 1602, where Tulla says, "Go by, Jeronimo, go by."] [216] _Inexecrable_, Allde's undated edit.; _inexplicable_, 1618, '23, '33. [217] _My_, 1618, '23, '33. [218] _Hapt to_, ditto. [219] _Haplesly_ 1618, '23, '33. [220] _That_ omitted, ditto. [221] _Your_, 1618, '23, '33. [222] Distracted. So in "Jack Drum's Entertainment," 1601, ed. 1616, sig. G 3-- "Alas! kind youth, how came he thus _distraught_?" And-- "Alas! my son's _distraught_. Sweet boy, appease Thy unstirring affections." --"Second Part of Antonio and Mellida," iii. 2. Again, in Lyly's "Euphues and his England"-- "Iffida is _distraught_ of her wits." [223] To burn daylight was a proverbial phrase for doing anything in waste or with no advantage. See "Merry Wives of Windsor," ii. 1, and "Romeo and Juliet," i. 4. So in Churchyard's "Worthiness of Wales," p. 96, edit. 1776-- "Tyme rouleth on: I doe _but daylight burne_." And in the "Curtain-Drawer of the World," 1612--"How dost thou _burne out thy daylight_ to these thy regardless children." [224] An aglet, Mr Pope says, is the tag of a point. See "Taming of the Shrew," i. 2. This is one of the explanations in Baret's "Alvearic," 1580, who also says, "An aglet is a jewell in one's cap, _segmentum aureum_." [225] [Old copy, _rear'd_.] [226] It is observed that, in an age when but a small part of the nation could read, ideas were frequently borrowed from representations in painting or tapestry. Leland, in his "Collectanea," asserts that painters constantly represented Judas the traitor with a red head. Dr Plot ("Oxfordshire," p. 153) says the same. This conceit is thought to have arisen in England from an ancient grudge to the red-haired Danes. See the notes of Mr Steevens and Mr Tollet to "Merry Wives of Windsor," i. 4. To the instances there produced may be added the following--"What has he given her? what is it, gossip? A fair, high-standing cup, and the two great 'postle spoons, one of them gilt. Sure, that was Judas with the red beard."--Middleton's "Chaste Maid in Cheapside," 1620.