_And._ 'Tis a good boy, and by my troth, well sung. O, and thou felt'st my grief, I warrant thee, Thou would'st have strook division[109] to the height, And made the life of music breathe: hold, boy; why so. For God's sake call me not Andrugio, That I may soon forget what I have been. 110 For heaven's name, name not Antonio, That I may not remember he was mine. Well, ere yon sun set, I'll show myself, Worthy my blood. I was a Duke; that's all. No[110] matter whither, but from whence we fall.[111] [_Exeunt._ [101] Open (Gr. chainô, chaunô). Cotgrave gives:--"To _chawne_,--se fendre, gercer, crevasser, crever, se jarcer." [102] Old eds. "Speake" (and "Speak"). [103] "'The king enacts more wonders than a man, Daring an opposite to every danger.' _Richard III._"--_Dilke._ [104] Cf. _Richard III._ (v. 3):-- "God and good angels fight on Richmond's side." [105] Old eds. "Chekle-roule." [106] "Cog a die" = load a die. [107] Dilke compares _Richard III._ (v. 3):-- "Who saw the sun to-day? _Rat._ Not I, my lord. _Rich._ Then he disdains to shine." [108] Omitted in ed. 1. [109] Variations in music. [110] The sentiment is from Seneca's _Thyestes_, l. 925:-- "Magis unde cadas Quam quo refert." [111] "The situation of Andrugio and Lucio resembles that of Lear and Kent, in that King's distresses. Andrugio, like Lear, manifests a kind of royal impatience, a turbulent greatness, an affected resignation. The enemies which he enters lists to combat, 'Despair, and mighty Grief, and sharp Impatience;' and the Forces ('Cornets of Horse,' &c.) which he brings to vanquish them, are in the boldest style of allegory. They are such a 'race of mourners' as 'the infection of sorrows loud' in the intellect might beget on 'some pregnant cloud' in the imagination."--_Charles Lamb._ SCENE II. _Palace of the Duke of Venice._ _Enter_ FELICHE _walking, unbraced_.