to have worn a red cap:? as the symbol of spiritual authority.
The term is of rare occurrence; only two examples of so early a
date are quoted in the _O.E.D._, both from State papers--(_a_)
"Captaine _Redde Cappe_, one of the rebelles of the last yere"
(1549); (_b_) = _red-hat_ = cardinal (1539).
REDE, "by my _rede_" (N121,_d_), counsel. Also as verb.
REDFORD (JOHN), musician, poet, and writer of interludes, was,
according to Hawkins, organist and almoner of St. Pauls.
Tusser, in his autobiographical poem, mentions him as master
of the children of St. Paul's about 1535. As a musician, his
instrumental works are well known, consisting mainly of florid
counterpoint upon a plain song. As master of the children
at St. Paul's, it was part of his duty to provide dramatic
entertainments. A quaint specimen of his skill in this respect
is afforded by his "Wit and Science." This is preserved among
the additional MSS. at the British Museum (No. 15,233), the
memorandum book in which it is written, and of which the original
binding is still in excellent condition, containing some musical
sketches (possibly memoranda only), and fragments of two other
moralities, one of them in Redford's name. The date of his death
is unknown, but as Sebastian Westcott was master of the children
of St. Paul's in 1559, probably Redford had died before that date.
The fragments of other interludes, probably both by Redford,
included in add. MSS 15,233, are as follows:--
[_Fragment No. 1._]
* * * * *
D. Marye, Tom, such poyntes God send him mani!
T. Well, go to, mok on! your mokes bere can I,
Tyll we shall once be evin, I truste.
G. Nay, Tom, all Malles lay in the dust,
And syns we have droonke all of one cup,
Shake handes lyke freends! all quarelles give up!
D. Ye, by my sowle, and syns the payne is past,
Let us be merye, and care awey cast.
I. What els, Tom, syns we have leve to play?
Let us be merye all thys long daye!
_Fynis, quod Master Jhon Redford._
_Here the syng_ Hey nony nonye,
_and so go forth syngyng_.
In the MS. this fragment is cancelled with a pen.
[_Fragment No. 2._]
The other fragment of an interlude (cancelled in the MS.) is as
follows:--
CORAGE.
Shall we three joyne in unitee
To cheere these gestes?
KYNDNES.
By my trothe, ye.
Clennes _cumth in and_ Con. _steylyth away_.
Not so, my friends, here me speake. Mum!
CORAGE.
Where is Concupiscence becum?
CLENNES.
My presens hath put her to flyght!
Where Clennes doth in place apeere,
Ther is Concupiscence gone quighte.
This is not signed by Redford; it is only conjecturally his.
The other works of Redford's in the MS. book (additional MSS.
15,233) appear to be separate poems, with titles (some apparently
inserted in his reprint by Halliwell Phillips). The numbers to
the right refer to the pages in Halliwell Phillips's reprint.
1. Lamentation of boys learning the prick song.
(14 stanzas of 4 lines each) 62
2. "Nolo Mortem peccatoris: hoec sunt verba
Salvatoris." (23 stanzas of six lines each) 68
3. "Long have I been a singing man."
(8 stanzas of six lines each) 80
4. "Will and Power." (3 stanzas of seven lines each) 86
5. "The Pleasure of Godliness."
Besides some irregular opening lines.
(22 stanzas of six lines each) 92
6. "The goodness of all God's gifts."
(11 stanzas of seven lines each) 97
7. "The sinfulness of man."
(8 stanzas of eight lines each) 100
REDUCIBLE, "he will be _reducible_" (M37,_b_), reclaimable.
REFRAIT, "harp both on _refrait_" (N59,_d_), refrain, burden. "Of
ther song the _refreit_ was of pees."--Lydgate in _Pol. Poems_
(1443), II., 211 (Rolls).
REMORD, "thou ought to remord" (IP316,_b_), feel remorse. "_Remord_
and rew, and pondir weill my parte."--A. Scott, _Poems_ (_c._
1560), xiii. 38 (S.T.S.).
REMOTION, "to you ... have recourse and _remotion_" (M3,_d_),
inclination to.
REN (_passim_), run.
REPORTURE, "to make _reporture_" (N100,_c_), mention, report. "To
hyr I wyll goo and make _reportur_."--_Digby_ _Myst._ (_c._
1485), III., 2084 (1882).
RESIDED, "one _resided_ me with a bowl of water" (JE358,_a_). I
have been unable to arrive at any satisfactory explanation of
this passage.
RESPUBLICA. The text is given on pp. 177-272. The original forms
one of the Macro plays in manuscript, now the property of Mr.
J. H. Gurney of Keswick Hall, near Norwich: see Macro Plays
and Manuscripts, _ante_. _Respublica_ has been three times
previously printed in modern times--(_a_) by Mr. John Payne
Collier in _Illustrations of Old English Literature_, I. (1866),
B. M. press-mark, 2326, _c_; (_b_) by Prof. Brandl in _Quellen_,
etc. (1904); and (_c_) by the Early English Text Society (Extra
Series xciv.), edited by Mr. Leonard A. Magnus, LL.B., "from Mr.
Gurney's unique Macro MS. 115" (1905), B. M. press-mark, Ac.
9926/60. I do not know how Mr. Collier got his copy; Dr. Brandl
states his copy was made for him by Dr. Emeke, "and we both have
collated it." Whether the copy was made direct from the original
manuscript, or whether it was (as in the case of _Mankind_)
(_q.v._) a copy of a copy, or further, whether the collation of
the proof-sheets was with the original or with the copy is not
stated: still even the last is _something_ towards assurance, for
the ways of the modern "comp." and the oversight of the average
"reader" are, at times, passing strange. Yet Mr. Magnus by his
remark, "Prof. Brandl had to make his edition from a copy of the
manuscript," seems to infer that the German editor was unable
to get into close contact with the original. This uncertainty
is unfortunate, for were we sure of the contrary, there would
have been immediate and well-founded confidence in the fidelity
of Prof. Brandl's text. But worse remains. Mr. Magnus, beyond
saying that "the manuscript has been kindly lent by the owner,"
nowhere, so far as I can read, mentions that the copy of the same
as prepared for the printers had, when in proof, been compared
with the original manuscript. My own experience in collating
the three copies of _Mankind_ (_q.v._), made respectively for
the E.E.T.S., Prof. Manly, and Prof. Brandl, does not tend to
reassure one. Indeed, the sampling of Mr. Manly's printed sheets
in another direction has convinced me that though the text
may be, and probably is, substantially accurate, yet it would
be folly to waste valuable time in furnishing, for this play,
even the simplest of textual notes and criticism. Knowing, by
experience, the weighty trustworthiness of Prof. Brandl's work in
respect to other plays, I commenced by modernising his text, at
the same time collating it with that of Collier, only to find,
when I came to compare it with the E.E.T. Society's edition,
just the same obviously careless miscripts and blunders that
I found when collating _Mankind_. This estimate was confirmed
when I tested the value of the work done on _Respublica_, apart
from the text, in the same fashion that I tested the worth of
_Mankind_. Taking pages xviii. (four lines from bottom) to xxii.
(two lines from top) of Mr. Magnus' _Introduction_ (E.E.T.S.,
Extra Series xciv.), to prove the accuracy of the quotations and
references, what is the result? In 124 lines there are no fewer
than forty errors in quotation, reference figures, and the like,
or more than one mistake for every three lines!!! I fear little
faith can be placed in the accuracy of the text of the play when
such a result is forthcoming in respect to the very structure of
the setting. Nor is this an isolated or specially selected weak
spot: these particular pages attracted attention as providing
an obviously distinctive chance of checking the work done. Turn
again to the glossary references, and taking a column haphazard,
the second column of page 79, and the same process of verifying
the printed page shows five blunders in thirty-four entries from
_Cale_ to _Creature_. Or, take page 66 of the notes, and one
reaps four blunders in twelve lines (Notes, l. 439-l. 581)! I
cannot therefore help feeling uncertain about the text of the
play itself, and as I have been unable, as yet, to get access
to the original, I prefer to save useless labour by sending
forth my own text without comment of any kind. As a matter of
course the E.E.T.S. version is no doubt nearest the original,
and, in doubtful cases I have, equally of course, followed it in
preference to the Collier or Brandl versions; but it must not
be taken as worth more than it really is. I can only once again
express a sincere hope that some one will in the near future be
allowed to reproduce these invaluable Macro Plays in facsimile.
_Respublica_ is noteworthy in more respects than one. Obviously
written by a Catholic, it is the Reformation in its social and
political, and not in its doctrinal, aspect that forms the pivot
of the action of the play. The calmest judgments of posterity
incline to the view that the mainspring of the revolt against the
Papacy in England rested more on zeal as the tool of worldliness
than, as elsewhere, on worldliness as the tool of zeal. A king
whose character was despotism itself personified, unprincipled
ministers, a rapacious aristocracy, a servile Parliament, such
were the instruments by which England was delivered from the yoke
of Rome. The work which had been begun by Henry, the murderer
of his wives, was continued by Somerset, the murderer of his
brother, and completed by Elizabeth, the murderer of her guest.
By Reformers and Catholics alike, religion was made the tool of
spoliation, rapine, and oppression. The Reformation left the
country morally and materially bankrupt, and Catholic though
Mary was, much seems to have been expected of her by the nation
at large. Indeed, the great mass of the people cared little or
nothing for the factional strife of either camp, except so far as
it affected them from a social point of view. Hence the _motif_
of _Respublica_ and its curiously moderate tone. It would really
seem that Queen Mary was possessed of a softness not usually
credited to her, and that she succumbed to political faction
as her brother before her and her sister after her succumbed.
It is, therefore, this aspect--the social aspect--of the great
upheaval with which the author of _Respublica_ is concerned,
and no more pithy or pungent contemporary narrative or satire
exists. Apart from the regrettable shortcomings of Mr. Magnus'
volume in other respects, he has done useful yeoman service
to English scholarships by tracing and emphasising, point by
point, the action of the play in its relation to political
events, practically identifying the play as a stage version
of the events of the reign of Edward VI. I can only refer my
readers to his altogether admirable analysis--a statement of
fact and resumé which happily is not and cannot be marred by
the evil influence of inaccuracy of reference and quotation.
Further, if Mr. Magnus' essay be read in conjunction with that
portion of Hallam's _Constitutional History of_ _England_,
which concerns this period--Macaulay's famous review of the same
will serve admirably--and with Book II. of Burnett's _History of
the Reformation_, the key will be found to emphasise the points
made by Mr. Magnus, and to illustrate and explain the political
and social allusions with which _Respublica_ abounds. On the
question of authorship, Mr. Magnus also attempts an attribution,
suggesting Udall, the author of _Ralph Roister Doister_. His
facts and inferences are, to my mind, inconclusive; as he himself
admits. Identity of phraseology, tricks of style, similarity of
orthography, and the like, are at best uncertain grounds to form
the basis of Tudor attributions. Very shortly the _corpus_ of
pre-Shakespearean drama now in progress will enable the student
to tackle his subject to more purpose than heretofore.
RESTED, "would have _rested_ me" (IP316,_c_), a contracted form of
_arrest_.
RESTORITY, "it is _restority_" (R222,_c_), restorative; note the
exigency of the rhyme.
RICEPUDDING-CAKE (R. _passim_), Respublica (_q.v._).
RINGWORM, "a _running ringworm_" (M28,_a_), _i.e._ the mark of the
halter round New Guise's neck.
RODS, "_rods in piss_" (R219,_b_), a reckoning in store.
ROND, "_rond_ in your ear" (M14,_c_), whisper.
ROOM, "to have with him a _room_" (N49,_d_; 50,_a_), post,
office, station, position. "To have and enjoy that office and
_room_."--Holinshed, _Scotland_ (an. 1543).
ROYALS, "give us _red royals_" (M21,_b_), _i.e._ give us gold, not
coppers: _red_ = gold is frequently found in old writers, though
it is now only used in thieves' slang. The _royal_ was a gold
coin of varying value, from 10s. to 30s.: see other volumes of
this series. "Ich shall not mis of _red ones_ to haue store."--T.
Howell, _Poems_ (1568), i. 91 (Grosart).
RUTTER, "A _rutter_, huffa gallant" (N77,_c_), trooper, horseman:
also a swaggering, dashing gallant. That this last mentioned is
the sense is clear from the phrase _huffa gallant_, which in
old writers is commonly put into the mouths of roisterers and
dashing men of fashion: see _Four Elements_, _Hickscorner_, etc.
RUTTERKIN, "what _rutterkin_ have we here" (IP332,_b_), a rutter:
see previous entry.
SAD, "_sad_ a-sleep" (M26,_c_), sound, firm, not to be easily
awakened. "It was founded on a _sad_ stoon."--Wyclif, Luke vi.
SAINT AUDREY, "_St. Audrey's_ holy bend" (M28,_a_), _bend_ = band:
see Nares, _s.v._ Tawdry.
SAINT CATHERINE'S (JE361,_c_). This is probably St. Catherine's
near Guildford, which was one of the stations on the "Pilgrim's
way" from Winchester to Canterbury, the route lying also through
Kent. From St. Catherine's, which stands on a knoll just to the
south of Guildford, the "way" leads up through "The Chantries"
to St. Martha's Chapel, which crowns a considerable hill, thence
proceeding eastward into Kent.
SAINT CHAD (IP336,_c_). Of course this saint was picked for the
rhyme's sake. St. Chad was better known by his Saxon name of St.
Ceadda, a Northumbrian by birth. His early life was spent in
a monastery in Ireland. In 664 he succeeded Bishop Cedda, his
brother, as abbot of Lastingham. Subsequently he became Bishop
of York, but resigned the bishopric on a question arising as to
the regularity of his consecration, retiring to his old office at
Lastingham. On the death of Jaruman, bishop of Mercia, Ceadda was
induced to enter the episcopate once more. He died at Lichfield
in 672. He has always been a popular saint in the English
Calendar, his festival falling on the 2nd March.
SAINT CHARITY (M11,_b_), see _Anon. Plays_ (E.E.D.S.), 3 Ser.,
293,_d_.
SAINT GABRIEL'S MOTHER (M35,_b_), perhaps a reference to the Virgin
Mary. There are three St. Gabriels, of whom the one recognised
in the gnostic systems is the more likely. He was the angel
specially associated with the conception of the Virgin Mary, and
according to some versions was Jesus Himself taking the form of
the angel Gabriel for the purpose of preparing the Virgin, in a
physical sense, for the miraculous conception.
SAINT GEORGE, "_Saint George thee borrow_" (R208,_a_), whether
merely used as a salutation or referring to some song is not
clear: as regards the phrase, see Udal, _Works_ (E.E.D.S.),
146,_d_.
SAINT HUGH (IP341,_a_). There are no less than _four_ St. Hughs
who were bishops, viz.:--Hugh, 9th Bishop of Geneva, early in
7th century; Hugh, 13th Bishop of Alby, said to have been in
possession of the See when the Saracens took the city in 722;
Hugh, 37th Bishop of Paris, died in 730; Hugh, 18th Bishop of
Séez, in latter half of 8th century. There is also a legendary
St. Hugh, patron of the Abbey of Tewkesbury, who is said to have
buried Brihtric, King of Mercia, in the chapel of St. Faith
at Tewkesbury, and to have been buried there himself in 812.
According to _Dictionary of Christian_ _Biography_, the story is
an impudent fabrication.
SAINT QUINTIN (M13,_b_) came into Gaul with St. Lucian of Beavais,
and was martyred by the Romans under Rectiovarus.
SAINT TRUNNION, see Heywood, _Works_ (E.E.D.S.), I., 272,_d_.
SALLET, "for lack of a _sallet_" (R229,_b_), a light helmet,
chiefly used by foot-soldiers in the fifteenth century: see God's
Good. "Many a time, but for a _sallet_, my brain-pan had been
cleft with a brown-bill."--Shakespeare, 2 _Henry VI._, ix. 10.
SANCTO, "_Cum sancto ... perverteris_" (M15,_c_), see _Psalm_ xvii.
27.
SCAMBLE, SCAMBLING, "I doubt not to _scamble_ and rake"
(R187,_c_)--"fall thus to _scambling_" (R194,_d_)--"as quick
_scambling_ as ever I saw" (R221,_c_), _i.e._ pilfer and plunder
when and how possible; see "Catch that catch may" (R187,_b_), and
cf. Cotgrave, "_Scamblingly_, catch that catch may."--"Much more
being _scambled_ up after this manner."--Holinshed, _Chronicle_
(Epis. Dedic.).
SCAPE, "the _scape_ of extreats" (R183,_d_), trick, cheat: see
Respublica. "They readily pardon all faults and _scapes_
committed by negligence."--North, _Plutarch_, p. 206.
SCOTTLING, "a pretty _scottling_" (M6,_d_), scuttling.
SCOURED, "_scoured_ a pair of fetters" (M28,_d_), a very common
piece of Old Cant = to go, or lie, in, or wear fetters: usually,
"to _scour_ the cramp-rings or derbies." "Then to the quier-ken
to _scoure_ the cramp-ring."--Dekker, _Beggar's Curse_ (1608).
"And 'cause we are poor made to _scour_ the cramp-ring."--Dekker,
_Lanthorne and Candlelight_. The original is _scoryde_.
SECTOURSHIP, see Respublica.
SECULE, "_secule_ thyself" (IP342,_d_),? a misprint for _secure_.
SEREFUL, "a _sereful_ man" (N81,_c_), I suspect from the context
that this is a misprint for fearful = full of fear, timid. Or
it may be akin to the use of _sere_ by Ascham, characterised by
Nares as "peculiar" to that writer = individual, particular,
single: whence _sereful_ would mean "peculiar," "full of
idiosyncracies," "difficult."
SHAKED, "They _shaked_ me up" (R255,_d_), shook.
SHALCH, "what _shalch_ zai to om" (R.,_passim_), shall I--shal[l
i]ch.
SHALES, "served but with _shales_" (R214,_d_), shells.
SHARINGS (R183,_c_), shearings.
SHENT, "you will be _shent_" (N105,_c, et passim_), blamed.
SHROUD CELL (M17,_c_),? privy place, such as the crypt of a church:
shrouds are properly places under ground: the meaning is that
Mankind has met Mercy privately.
SIDE, see Aloft.
SIDE-GOWN, "his _side-gown_ may be sold" (M29,_d_), long gown: cf.
"side-sleeves" = long sleeves. There are examples enough in Nares.
SI DIDERO (M20,_d_), _i.e._ "I'll pay you back with profit"
(E.E.T.S. ed.).
SIGHING, "weeping, _sighing_, and sobbing" (M32,_d_), the
_sythynge_ of the original seems worth recording.
SIKER, "_siker_ thyself, man!" (N51,_b_), secure, make all safe,
assure
"Now be we duchesses both I and ye,
And _sikerde_ to the regals of Athenes,
And both hereafter likely to be queenes."
--Chaucer, _Legend of Ariadne_.
SIKERNESS, "In one is _sikerness_" (N55,_b_), certainty, security,
sureness: see previous entry.
SILVER HOOK (IP345,_d_), a bribe.
SINDONS, "the _sindons_ in which were wrapped the chalices"
(R221,_d_), a wrapper of cotton or linen. "There were found a
book and a letter, both written in fine parchment, and wrapped in
_sindons_ of linen."--_Bacon._
SINGULAR, "my sing'lar solace" (M36,_c_)--"my ... _singular_
recreatory" (M39,_a_), unique: in original _singler_ and
_synguler_ respectively.
"Some villain, ay, and _singular_ in his art."
--Shakespeare, _Cymbeline_ (1605), iii. 4.
SIR WILL--SIR WILLIAM OF TRENTRAM (JE356,_b_; 357,_a_): see
Trentham.
SLEET, "I will not _sleet_ my love to greet" (WS172,_c_), neglect.
SLEIGHT (_passim_), art, skill, dexterity, expertness: generic in
both a good and bad sense.
SLIPED, "_sliped_ down to the hard knee" (N77,_c_), sloped: note
the rhyme with "striped."
SLIPPER, "A _slipper_ sugar-mouthed whorecop" (R212,_c_), "the
ground be _slipper_ and sliding" (JE363,_d_), slippery. "I know
they _bee slipper_ that I have to do wyth, and there is no holde
of them."--Barnes, _Workes_ (1573), p. 283.
SLITHER, "make you to _slither_" (M7,_c_), slide, glide: still
dialectical.
SLOUTHY, see Flouthy.
SMATTERING, "a _smattering_ face" (M27,_b_),? a wanton face: cf.
_smoterlich_ = wanton; also _smorterest place_ (N95,_a_), _place_
being considered as a misprint for "piece."
"We wyll have cousynge Besse also,
And two or thre proper wenchis mo,
Ryght feyr and _smotter_ of face."--
_Four Elements_, Anon. Pl., 1 Ser. (E.E.D.S.), 22,_b_.
SMORTEREST, "the _smorterest_ place" (N95,_a_): see previous entry.
SMOULT, "gay, _smoult_ smirking whorecop" (R214,_b_), smooth.
SOCKET, "his wife's _socket_" (M8,_c_), _vulva_.
SONDE, "God ... send us of His _sonde_" (M24,_b_), message,
dispensation.
"Fyve yeer and more, as liked Cristes _sonde_,
Er that hir schip approched unto londe."
--Chaucer, _Cant. Tales_ (1383), 5322.
SORT (_passim_), company, assemblage, knot of people, gang: see
other volumes of this series.
SOVEREIGNS, "_sovereigns_ I beseech you" (M3,_d_; also IP347,_a_),
_i.e._ the audience, "Masters," "excellencies": cf. M.E.
_soverainly_ = above all.
SOWNETH (JE360,_b_), soundeth: see other volumes of this series.
SPADIBUS, "in _spadibus_" (M18,_c_), spades; cf. Breadibus.
SPARLING, "my own ... _sparling_": (WS162,_c_), properly the smelt:
formerly colloquial for "gull," "simpleton," and (so it would
appear) as an endearment. Probably, however, the exigencies of
a rhyme with "darling" influenced the author. Later, the cry,
"Westward for smelts!" = on the spree, in search of conies, male
or female.
SPECIAL, "my predelict _special_" (M39,_a_), favourite: most
frequently used of a paramour, male or female.
SPIRITUALTY, "an officer of the _spiritualty_" (IP343,_c_), the
hierarchy of the Church: here = an officer of the Ecclesiastical
Courts.
SQUAT, "_squat_ out ons brain" (R256,_d_), squash.
STARVE, see Grass.
STATE, "a great _state_" (N68,_d_)--"haled up with _states_"
(R267,_c_)--"to compare with a _state_" (IP339,_c_), a
person of rank or importance. "When _states_ ... sit in the
cool."--Heywood, _Works_ (E.E.D.S.), II., 258,_b_.
STATT, see Stow.
STILE, see Hedge.
STORE, "_store_ is no sore" (R184,_c_), in Heywood, _Works_
(E.E.D.S.), 12,_c_; 176,_d_.
STOW, "_stow, statt, stow_!" (M32,_b_), "_Stow, stow_, says
Halliwell, was formerly addressed to a hawk by a falconer to make
it come to his fist."
STRUSSIONERS, "such _strussioners_ as these" (R265,_c_),
destructioners + constructioners.
STUD, "Doth you _stud_ your brains" (R228,_b_). People's perversion
(perhaps intentional) of "study."
SUFFER, "he _will not suffer_" (R213,_a_); in original _nil_ _not_,
and it should have been so printed in text. _Nil_ = will not n[e
w]il[l]: cf. namnot, ninnat.
SUPERATE, "now it is _superate_" (M15,_a_), conquered, overcome.
SUPERSEDEAS (R261,_d_), a writ having in general the effect of a
command, to stay or forbear, on good cause shown, my ordinary
proceedings which might otherwise be proceeded with: hence a
stay, a stop. "To give a _supersedeas_ to industry."--Hammond,
_fl._ (1605-60), _Works_, i. 480.
TAGETIVE, "Am I a _tagetive_" (WH277,_c_). I can find no trace of
this word. Can Wealth be regarded as offended at being spoken to
as if he were one of the "tag" or rabble?
TANE (WH294,_b_; 305,_a_), taken.
TENDERANCE, "cometh of great _tenderance_" (N52,_d_), watchfulness.
THE, "God let you never _the_" (M., _et passim_), prosper, thrive.
THIRLETH, "a short prayer _thirleth_ heaven" (M25,_a_), ascends to,
pierces, penetrates. "If ony _thirle_ or make an hole in a feble
walle."--_Gesta Romanorum._
TIDE, "tarry here this _tide_" (M23,_d_), time, season.
TINKERS, "though _tinkers_ should lack work" (R213,_d_), cf. "Like
Banbury tinkers, that in mending one hole make three."
TO, "thou must needs _to_" (N50,_d_), elliptic; _i.e._ "go to."
TO-BEATEN, "all _to-beaten_" (M19,_c_), _to_ = A.S. prefix implying
deterioration, destruction, or completeness; _i.e._ beaten
unmercifully.
TO-GLORIED, "all _to-gloried_" (M34,_c_): see previous entry.
_To-gloried_ = finically fine or grandiloquent (_i.e._ your
phraseology is destructive of "measure").
TORITY, "ye give me _tority_" (R266,_c_), authority.