[138] _Masters of dependencies._] They were a set of needy bravoes, who undertook to ascertain the authentic grounds of a quarrel, and in some cases to settle it, for the timorous or unskilful. In the punctilious days of our author, all matters relative to duelling were arranged, in set treatises, with a gravity that, in a business less serious, would be infinitely ridiculous. Troops of disbanded soldiers, or rather of such as pretended to be so, took up the "noble science of arms," and, with the use of the small sword, (then a novelty,) taught a jargon respecting the various modes of "honourable quarrelling," which, though seemingly calculated to baffle alike the patience and the understanding, was a fashionable object of study. The dramatic poets, faithful to the moral end of their high art, combated this contagious folly with the united powers of wit and humour; and, after a long and well-conducted struggle, succeeded in rendering it as contemptible as it was odious, and finally suppressed it altogether.--GIFFORD. [139] _A provant sword._] A plain, unornamented sword, such as the army is supplied with. Properly speaking, _provant_ means provisions; but our old writers extend it to all the articles that make up the magazine of an army.--GIFFORD. [140] _Lachrymæ._] The first word of the title of a musical work composed by John Dowland, in the time of James the First. The full title was, "Lachrymæ; or, Seven Teares figured in seaven passionate Pavans (_i. e._ affecting, serious dances); with divers other Pavans, Galiards, and Almands, set forth to the Lute, Viols, or Violins, in five Parts." This work was very popular, and is frequently alluded to by the writers of our author's age. [141] _Entradas_,] i. e. _rents, revenues_. [142] _To decline_,] i. e. _to divert from their course_. This sense of the word is frequent in our old poets. [143] _Virtue, if not in action, is a vice; And when we move not forward, we go backward._] This is a beautiful improvement on Horace: _Paulum sepultæ distat inertiæ Celata virtus._ The last line of the text alludes to the Latin adage _Non progredi est regredi_.--GIFFORD. SCENE II. _The same. A Room in_ CAMIOLA'_s House_. _Enter Signior_ SYLLI, _walking fantastically, followed by_ CAMIOLA _and_ CLARINDA. _Cam._ Nay, signior, this is too much ceremony, In my own house. _Syl._ What's gracious abroad, Must be in private practised. _Clar._ For your mirth's sake Let him alone; he has been all this morning In practice with a peruked gentleman-usher, To teach him his true amble, and his postures, [SYLLI _walking by, and practising_. When he walks before a lady.