ll_, I date the first production, though not the original composition,
of _Troilus and Cressida_, and also the final revision of _Love's
Labour's Lost_. In this latter play the part taken by Armado was, I
believe, enlarged and revised, as in the case of Parolles in _All's Well
that Ends Well_, to suit the incidents and characterisation to
Shakespeare's developed knowledge of, and experience with, Florio. There
are several small but significant links of description between the
Parolles of 1598 and the enlarged Armado of the same date. Both of these
characters are represented as braggart soldiers and also as linguists,
which evidently reflect Florio's quasi-military connection with
Southampton and his known proficiency in languages.

In Act IV. Scene iii. Parolles is referred to as "the manifold linguist
and armipotent soldier." In _Love's Labour's Lost_, in Act I. Scene i.,
in lines that palpably belong to the play in its earliest form, Armado
is described as "a man of fire-new words." He is also represented as a
traveller from Spain. In Act V. Scene ii., in lines that pertain to the
revision of 1598, he is made to take the soldier's part again, in giving
him the character of Hector in _The Nine Worthies_. In this character
Armado is made to use the peculiar word "armipotent" twice. It is
significant that this word is never used by Shakespeare except in
connection with Armado and Parolles. In giving Armado the character of
Hector, I am convinced that Shakespeare again indicates Florio's
military experience. In the lines which Armado recites in the character
of Hector, Shakespeare intentionally makes his personal point at Florio
more strongly indicative by alluding to the name Florio by the word
"flower," in the interrupted line with which Hector ends his verses.

ARM. Peace!----
"The armipotent Mars, of lances the almighty,
Gave Hector a gift, the heir of Ilion;
A man so breathed, that certain he would fight ye
From morn till night, out of his pavilion.
I am that flower,----"

He reinforces his indication by Dumain's and Longaville's
interpolations--"That mint," "That columbine." Florio undoubtedly
indicated this meaning to his own name in entitling his earliest
publication _First Fruites_ and a later publication _Second Fruites_. In
a sonnet addressed to him by some friend of his who signs himself
"Ignoto," his name is also referred to in this sense. In his
Italian-Eng