But the same predisposition to give ‘crafty’ and ‘sly’ and ‘cunning’ and ‘artful’ a dishonest sense has not been therewith content, but must needs throw ridicule upon the unsophisticated and artless natures of our ‘Simples’ (‘Jordan le Simple,’ A.), who would scarcely feel complimented if their surname were to originate in the present day.[531] It is the same with our ‘Seeleys’ (‘Benedict Sely,’ D.) and ‘Selymans’ (‘George Selyman,’ D.), the older forms of ‘Silly’ and ‘Sillyman.’ Perhaps the phrase ‘silly lamb’ is the only one in which we colloquially preserve the former idea of ‘silly,’ that of utter guilelessness. A ‘silly virgin’ with Spenser was no foolish maiden, but one helpless in her innocence, and the ‘silly women’ Shakespeare hints at in his ‘Two Gentlemen of Verona’ were but inoffensive and unprotected females.[532] ‘Sealey,’ ‘Silly,’ ‘Sillyman,’ and ‘Selyman,’[533] are all pleasant memorials of the earlier sense of this word. Our ‘Quaints’ and ‘Cants’ have gone through a changeful career. They are but the descendants of the old ‘Margaret le Coynte’ or ‘Richard le Queynte,’ from the early French ‘coint,’ neat, elegant. A shadow fell over it, however, and a notion of artfulness becoming attached to the word, to be quaint was to be crafty. Thus Wicklyffe, in his translation of St. Mark’s account of Christ’s betrayal, makes Judas say to the servants of the high priest, ‘Whomever I shall touch, he it is, hold ye him, and lead him warily, or queintly.’ Thus, too, Lawrence Minot, in his ‘Political Songs,’ tells us how— The King of Berne was _cant_ and kene, But there he lost both play and pride. Strange to say, the word has well-nigh recovered its original sense, betokening as it does a whimsical and antique prettiness, if not the bare quality itself. Our original ‘Careless’ (‘Antony Careless,’ Z.) was of that happy disposition which the petty worries and anxieties of life do not easily disturb, and, to judge from our nomenclature, he forms but one of a large band of cheery and easy-minded mortals. ‘Joyce,’ that is, ‘Jocose,’ when not a Christian name,[534] and ‘Jolly’ must be set here, not forgetting the older and prettier ‘Jolyffe’ (‘Henry Jolyffe,’ M.). In the ‘Miller’s Tale’ we are told of ‘Absolon,’ how that when at eventide he had taken up his ‘giterne’— Forth he goth, jolif and amorous,