[Footnote 79: your nose: An allusion to the large artificial nose, with which Barabas was represented on the stage. See the passage cited from W. Rowley's SEARCH FOR MONEY, 1609, in the ACCOUNT OF MARLOWE AND HIS WRITINGS.] [Footnote 80: Ure: i.e. use, practice.] [Footnote 81: a-good: "i.e. in good earnest. Tout de bon." REED (apud Dodsley's O. P.).] [Footnote 82: Enter LODOWICK: A change of scene supposed here,--to the outside of Barabas's house.] [Footnote 83: vow love to him: Old ed. "vow TO LOUE him": but compare, in Barabas's next speech but one, "And she VOWS LOVE TO HIM," &c.] [Footnote 84: made sure: i.e. affianced.] [Footnote 85: Ludovico: Old ed. "Lodowicke."--In act iii. we have, "I fear she knows--'tis so--of my device In Don Mathias' and LODOVICO'S deaths." p. 162, sec. col.] [Footnote 86: happily: i.e. haply.] [Footnote 87: unsoil'd: "Perhaps we ought to read 'unfoil'd', consistently with what Barabas said of her before under the figure of a jewel-- 'The diamond that I talk of NE'ER WAS FOIL'D'." COLLIER (apud Dodsley's O. P.). But see that passage, p. 155, sec. col., and note ||. [i.e. note 70.]] [Footnote 88: cross: i.e. piece of money (many coins being marked with a cross on one side).] [Footnote 89: thou: Old ed. "thee."] [Footnote 90: resolv'd: "i.e. satisfied." GILCHRIST (apud Dodsley's O. P.).] [Footnote 91: Enter BELLAMIRA: She appears, we may suppose, in a veranda or open portico of her house (that the scene is not the interior of the house, is proved by what follows).] [Footnote 92: Enter MATHIAS. MATHIAS. This is the place, &c.: The scene is some pert of the town, as Barabas appears "ABOVE,"--in the balcony of a house. (He stood, of course, on what was termed the upper-stage.) Old ed. thus; "Enter MATHIAS. Math. This is the place, now Abigail shall see Whether Mathias holds her deare or no. Enter Lodow. reading. Math. What, dares the villain write in such base terms? Lod. I did it, and reuenge it if thou dar'st."] [Footnote 93: Lodovico: Old ed. "Lodowicke."--See note *, p. 158. (i.e. note 85.)] [Footnote 94: tall: i.e. bold, brave.] [Footnote 95: What sight is this!: i.e. What A sight is this! Our early writers often omit the article in such exclamations: compare Shakespeare's JULIUS CAESAR, act i. sc. 3, where Casca says, "Cassius, WHAT NIGHT IS THIS!" (after which words the modern editors improperly retain the interrogation-point of the first folio).] [Footnote 96: Lodovico: Old ed. "Lodowicke."] [Footnote 97: These arms of mine shall be thy sepulchre: So in Shakespeare's THIRD PART OF KING HENRY VI., act ii. sc. 5, the Father says to the dead Son whom he has killed in battle, "THESE ARMS OF MINE shall be thy winding-sheet; My heart, sweet boy, SHALL BE THY SEPULCHRE,"-- lines, let me add, not to be found in THE TRUE TRAGEDIE OF RICHARD DUKE OF YORKE, on which Shakespeare formed that play.] [Footnote 98: Katharine: Old ed. "Katherina."]