| Val. | Why, how know you that I am in love? |
| Speed. | Marry by these special marks. First, you have learn'd … To relish a love song, like a robin-redbreast; |
Rom. 24, 15.
| Mercutio. | 'Alas, poor Romeo! he is already dead; … run thorough the ear with a love-song.' |
besides the passage from Twelfth Nt. 23, quoted further on, where Feste offers Sir Toby and Sir Andrew their choice between 'a love-song, or a song of good life.'
The 'delicate burdens,' 'dildos and fadings,' 'jump her and thump her,' are to be found in examples of the period. A Round of Matt. White, 'The Courtier scorns the country clowns' (date about 1600) has for its third and last line 'With a fading, fading, fading, fading,' etc. 'Whoop, do me no harm' has already been spoken of.
In l. 214 of the Winter's Tale passage, Perdita again takes precaution against Autolycus using 'scurrilous words.'
From l. 285 to l. 327, the passage refers to a very interesting department of 16th century singing—viz., the habit of performing songs in three vocal parts. The singers were called Threeman-songmen, and the
