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« - » •■V Mary Edgcumbe JilaUhford

CImnltmt |m8 ^mes ENGLISH CLASSICS AS YOU LIKE IT W. A. WRIGHT

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Eonbon MACMILLAN ANI> CO. PUBLISHERS TO THE UNIVERSITY OF

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Cla«nb0n ^nss ^txm SHAKESPEARE SELECT PLAYS AS YOU LIK'E IT EDITED BY WILLIAM ALDIS WRIGHT, M.A. Bursar of Trinity College, Cambridge AT THE CLARENDON PRESS M DCCC LXXVI [AU rights reserved^

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./i.'lI3f *^ Harvard OoUeo Library Gift of 9 Miss Mary E. Blatchford«^ S«pt. 4. 1M7

PREFACE. With regard to the origin and date of this most delightful and popular of Shakespeare's Comedies there is but little uncertainty. The registers of the Stationers* Company contain the following entry among others which are found on two leaves at the beginning of vol. C : — • 4. Augusti As you like yt / a booke Henry the ffift / a booke Euery man in his humour / a booke ^ to be staled. The commedie of muche A doo about nothing a booke/ These are all under the head of ' my lord chamberlens menns plaies.' The year is not given, but the date of the previous entry is 27 May 1600, and that of the following 23 January 1603, and as the other plays mentioned in the entry were printed in 1600 and 1601, it may be fairly conjectured that the year to be supplied is 1600. The play was probably written in the course of the same year. It is not mentioned by Meres in the list of Shakespeare's plays which he gives in Palladis Tamia, and it contains a quotation (iii. 5. 80) from Marlowe's Hero and Leander, which was first published in the year 1598. Now Meres's book was entered at Stationers' Hall on the 7th of September 1598, and therefore between that date and 4 August 1600, we have to put the three plays Henry V, Much Ado about Nothing, and As You Like It, which are 0^ xcv^t^tioned in the memorandum made under t\ve I^lII^t ^2l>l^,vq\\'^^ sipparentiy they were not published when Metes wxoVe, K^^vjvt

VI PREFACE. whereas of the other plays, Every Man in his Humour and Henry V are entered again on 14 August, and Much Ado about Nothing on 23 August 1600, there is no corresponding entry for As You Like It, which so far as is known did not appear in print till the publication of the first folio in 1623. In the case of the other three plays the difficulty which caused them to be stayed was speedily removed, and we can only conjecture that As You Like It was nt>t subsequently entered because the announcement of its publication may have been premature and the play may not have been ready. Of internal evidence from the play itself there is nothing decisive. See notes on iv. I. 134, and iii. 2. 326. There may possibly be a reference in v. 2. 63 (*By my life, I do; which I tender dearly, though I say I am a magician ') to the severe statute against witchcraft which was passed in the first year of James the First's reign. Again in iv. i. 164 (*by all pretty oaths that are not dangerous *) we might imagine the Act to restrain the Abuses of Players (3 James I. chap. 21, quoted in notes to the Merchant of Venice, i. 2. 99) to be pointed at. But both these would give dates too late, and they may easily have been addecl at some subsequent representation of the play, which was mainly composed, as I think, in the year 1600, and after (he other plays which are mentioned with it in the entry at Stationers* Hall. I am inclined to conjecture that the stay of publication of As You Like It may have been due to the fact that the play was not completed, because even in the form in which it has come down to us there are marks of hasty work, which seem to indicate that it was hurriedly finished. For instance the name of Jaques is given to the second son of Sir Rowland de Boys at the beginning of the play, and then when he really appears in the last scene he is called in the folios * Second Brother ' to avoid confounding him with the melancholy Jaques. Again, in the first Act there is a certain confusion between Celia and Rosalind which is not all due to tAe printer, and gives me the impression that Shakespeare A/mself, writing in haste^ may not "have de^xVj ^\\x^^>^^^

PREFACE. Vll between the daughter and niece of the usurping Duke. I refer especially to i. 2. 74, 75, which stands thus in the first folio ; *Clo. One that old Frederiche your Father loues. Ros, My Fathers loue is enough to honor him/ &c. Theobald was the first to see that the last speaker must be Celia and not Rosalind, while Gapell proposed to substitute * Ferdinand ' for * Frederick * in the Clown*s speech, supposing the former to be the name of Rosalind's father. It may be said of course that this is a printer's blunder, and I cannot assert that it may not have been. But it would be too hard upon the printer to attribute to him the slip in i. 2. 255, where the first folio reads, in Le Beau's answer to Orlando's enquiry which of the two was daughter of the Duke, 'But yet indeede the taller is his daughter/ when it is evident from the next scene that Rosalind is the taller, for she says, as a justification of her assuming male attire (i. 3. 112), 'Because that I am more than common tall.' Again, Orlando's rapturous exclamation 'O heavenly Rosalind !' comes in rather oddly. His familiarity with her name, which has not been mentioned in his presence, is certainly not quite consistent with his making the enquiry of Le Beau which shewed that up to that time he had known nothing about her. Nor is Touchstone, the motley-minded gentleman, one that had been a courtier, whose dry humour had a piquancy even for the worn-out Jaques, at all what we are prepared to expect from the early description of him as * the clownish fool,' or * the roynish clown.' T^carcely know whether to attribute to the printer or to the author's rapidity of composition the substitution of * Juno' for 'Venus' in i. 3. 72. But it must be admitted that in the last scene of all there is a good deal which, to say the least of it, is not in Shakespeare's best manner, and conveys the impression that the play was finished without much care. The title ^As You LikQ It,' as weW as lYi^ m^vft. vwix^^'^^'k

/. Vlll PREFACE. were taken from a novel by Thomas Lodge,^ which was first printed in 1590. Another edition appeared in 1592, and from the reprint of this in Mr. Collier's Shakespeare's Library (2 vols., 1843) all the quotations in the present volume have been made. The title is, * Rosalynde. Euphues golden Legacie, found after his death in his Cell at Silexedra. Bequeathed to Philautus Sonnes, nursed vp with their Father in England. Fetchtfrom the Canaries by T, L, GentJ The \yriter, who signs himself in full * Thomas Lodge ' in the Dedication of his book to Lord Hunsdon, professes to have written it to beguile the time during a voyage to * the Hands of Terceras and the Canaries' with Captain Clarke. In the same Dedication he calls himself a soldier and a scholar. *To the Gentlemen Readers,' he says, *^eere you may perhaps finde some leaves of Venus mirtle, but hewen down by a souldier with his curtlaxe, not boght with the allurement of a filed tongue. To bee briefe, gentlemen, roome for a souldier and a sailer, that gives you the fruits of his labors that he wrote in he ocean, when everie line was wet with a surge, and every humorous passion countercheckt with a storme. If vou like it. so; and yet I will bee yours in duetie, if you be mine in favour.' It can scarcely be doubted that the words I have printed in italic suggested the title of the play, the incidents of which so closely follow the course of the novel, and therefore it is only necessary to mention Tieck's theory that it was intended as an answer on the part of Shakespeare to a piece of bombast in the Epilogue to Ben Jonson's Cynthia's Revels : * ril only speak what I have heard him say, " By *tis good, and if you like't you may." ' He further suggests that Ben Jonson as Asper in Every Man out of his Humour, criticises Shakespeare's comedy, and that ^ Lodge's novel is itself to some extent taken from the Tale of Gamelyn, which is put in some editions of Chaucer in the gap left ty the uaSnisbed Cook's Tale. /'

PREFACE. IX the latter may have adopted the title of As You Like It as a kind of mocking reply. Gapell argued from the use of the word * pantaloon * which he found in The Travels of Three English Brothers, a piece which was printed in 1607, that this was about the date of our play. But the evidence from the Stationers* Hall Registers is conclusive against this. I shall now give in full the chief passages from Lodge's novel, with the references to the corresponding portions of the play. These will shew that Shakespeare not only followed the plot but adopted also the phraseology of his predecessor. The story introduces us to Sir John of Bordeaux^ a valiant knight of Malta, who in the prime of his youth had fought sundry battles against the Turks. On his deathbed he summoned his three sons and divided his estate between them, in a speech of great length, filled with quaintnesses and good advice. * First, therefore, unto thee Saladyne, the eldest, and therefore the chiefest piller of my house^ wherein should bee ingraved as wel the excellency of thy fathers qualities, as the essentiall fortune of his proportion, to thee I give foureteene ploughlands, with all my mannor houses and richest plate. Next, unto Femandine I bequeath twelve ploughlands. But, unto Rosader, the youngest, I give my horse, my armour, and my launce with sixteene ploughlands ; for if the inwarde thoughts be discovered by outward shadows, Rosader wil exceed you all in bountie and honour.* Saladyne, Fernandine, and Rosader, are the Oliver, Jaques, and Orlando of the play, and Sir John Bordeaux becomes Sir Rowland de Boys. After the old knight's death, Saladyne, in a lengthy soliloquy, considers with himself how he may lay hands on the portions of his brothers, who are both under age. His father's last wishes being only verbal and not expressed in writing were to be disregarded, and he then proposes to deal with his brothers, beginning with the younger. In this way we are introduced to the state of things revealed by Orlando in the opening scene. Act I, Scene 1. *Let him know Me, so s\va\\ \v^ wQ{v.\i^

X PREFA CE, n able to execute much:(suppresse his wittes with a base estate, and though hee be a gentleman by nature, yet forme him anew, and make him a peasant by nourture. So shalt thou keepe him as a slave, and raigne fhy selfe sole Lord over all thy fathers possessions. As for Femandyne, thy middle brother, he is a schoUer and hath no minde but on Aristotle : let him reade on Galen while thou riflest with golde, and pore on his booke til thou doest purchase landes : witte is great wealth ; if he have learning it is enough, and so let all rest. r* In this humour was Saladyne, making his brother Rosader his foote boy for the space of two or three yeares, keeping him in such servile subjection, as if he had been the sonne of any country vassal. The young gentleman bare all with patience, til on a day, walking in the garden by himselfe, he began to consider how he was the sonne of John of Bourdeaux, a knight renownied ^ for many victories, and a gentleman famozed for his vertues ; how, contrarie to the testament of his father, hee was not only kept from his land and in treated* as a servant, but smothered in such secret slaverie, as hee might not attaine to any honourable actions. As, quoth hee to himselfe (nature woorking these efFectuall passions) why should I that am a gentleman borne, passe my time in such unnatural drudgery ? were it not better either in Paris to become a scholler, or in the court k courtier, or in the field a souldier, then to live a foote boy to my own brother ? nature hath lent me wit to conceive but my brother denied mee art to contemplate : I have strength to performe any honorable exployt, but no libertie to accomplish my vertuous indevours : those good partes that God hath bestowed upon mee, the envy of my brother doth smother in obscuritie ; the harder is my fortune, and the more his frowardnes. With that casting up his hand he felt haire on his face,^ and perceiving his beard to bud for choler hee ^ So the reprint ; ? renowmed. " See Gamelyn, 82 : *Gamelyn stood on a day in his brotheres yerde. And bygm with his houd to YiandVeu \a& \>^x^^«

began to blush, and swore to himselfe he womd be no more subject to such slaverie. As he was thus ruminating of his melanchohe passions in came Saladyne with his men, and seeing his brother in a browne study, and to forget his wonted reverence, thought to shake him out of his dumps thus. Sirha (quoth he) what is your heart on your halfepeny, or are you saying a dirge for your fathers soul? what, is my dinner readie ? ^ At this question Rosader, turning his head ascance, and bending his browes as if anger there had ploughed the furrowes of her wrath, with his eyes full of fire, hee made this replie. Doest thou aske mee (Saladyne) for thy cates ? aske some of thy churles who are fit for suche an office : I am thine equal by nature, though not by birth, and though thou hast more cardes in the bunch, I have as many trumpes in my handes as thy selfe. Let me question with thee, why thou hast feld my woods, spoyled my manner houses, and made havocke of suche utensalles as my father bequeathed unto mee ? I tell thee, Saladyne, either answere mee as a brother, or I wil trouble thee as an enemie. *At this replie of Rosaders Saladyne smiled, as laughing at his presumption, and frowned as checking his folly : he therfore tooke him vp thus shortly : What, sirha, wel I see early pricks the tree that wil proove a thorne : hath my familiar conversing with you made you coy, or my good lookes drawne you to be thus contemptuous ? I can quickly remedie such a fault, and I wil bend the tree while it is a wand. In faith (sir boy) I have a snaffle for such a headstrong colt. You, sirs, lap^ holde on him and binde him, and then I wil give him a cooling carde for his choller. This made Rosader halfe mad, that stepping to a great rake that stood in the garden, hee laide such loade uppon his brothers men that hee hurt some of them, and made the rest of them run away. Saladyne ^ Gamelyn, 90 : 'Afterward cam his brother walkynge thare, And seyde to Qamelyn, " Is out luelc "jw^*^ >\\

Xii PREFACE, seeing Rosader so resolute, and with his resolution so valiant, thought his heeles his best safetie, and tooke him to a loaft adjoyning to the garden, whether Rosader pursued him hotlie.' This scene is closely copied from Gamelyn, except that the weapon in the latter is a pestle and not a rake'. The brothers are at length apparently reconciled, but Saladyne was only biding his time. * Thus continued the pad hidden in the strawe, til it chaunced that Torismond, king of France, had appointed for his pleasure a day of wrastling and of tournament to busie his commons heades, least, being idle, their thoughts should runne uppon more serious matters, and call to remembrance their old banished king. A champion there was to stand against all commers, a Norman, a man of tall stature and of great strength: so valiant, that in many such conflicts he alwaies bare away the victorie, not onely overthrowing them which hee incountred, but often with the weight of his bodie killing them outright. Saladyne hearing of this, thinking now not to let the ball fal to the ground, but to take opportunitie by the forehead, first by secret meanes convented with the Norman, and procured him with rich rewards to sweare, that if Rosader came within his clawes hee would never more retume to quarrel with Saladyne for his possessions. The Norman desirous of pelfe, as (quh nhi mentis inops oblatum respuit aurum) taking great gifts for litle gods, tooke the crownes of Saladyne to performe the stratagem. Having thus the champion tied to his vilanous determination by oath, hee prosecuted the intent of his purpose thus : — He went to yoong Rosader (who in all his thoughts reacht at honour, and gazed no lower then vertue commanded him), and began to tel him of this tournament and wrastling, how the king should bee there, and all the chiefe peeres of France, with all the beautiful damosels of the countrey. Now, brother (quoth hee) for the honor of Sir John of Bourdeaux, our renowned father, to famous that house that never hath bin found without men approoved in chivalrie, sbewe thy resolution to be peTem^\.QX\e. "^ot tk^

PREFACE. Xlil selfe thou knowest, though I am eldest by birth, yet never having attempted any deedes of armes, I am yongest^ to performe any martial exploytes, knowing better how to survey my lands then to charge my launce : my brother Femandyne hee is at Paris poring on a fewe papers, having more insight into sophistrie and principles of philosophie, then anie warlyke indeveurs; but thou, Rosader, the youngest in yeares but the eldest in valour, art a man of strength, and darest doo what honour allowes thee. Take thou my fathers launce, his sword, and his horse, and hye thee to the tournament, and either there valiantly cracke a speare, or trie with the Norman for the palme of activitie.' Rosader eagerly avails himself of his brother's offer, and thought every mile ten leagues till he came to the place appointed. Act I, Scene 2. * But leaving him so desirous of the journey, to Torismond, the king of France, who having by force banished Gerismond, their lawful king that lived as an outlaw in the forest of Arden, sought now by all meanes to keep the French busied with all sports that might breed their content. Amongst the rest he had appointed this solemne tumament, wherunto hee in most solemne maner resorted, accompanied with the twelve peers of France, who, rather for fear than love, graced him with the shew of their dutiful favours. To feede their eyes, and to make the beholders pleased with the sight of most rare and glistring objects, he had appoynted his owne daughter Alinda to be there, and the fair Rosalynd, daughter unto Gerismond, with al the beautifuU dammoselles that were famous for their features in all France.' Shakespeare has added a touch of his own in making the rightful and usurping dukes brothers, as in The Tempest. The novel, after describing the beauties of Rosalynd, proceeds with the account of the wrestling. ' Compare u i. 4SW

XIV PREFACE. 'At last when the tournament ceased, the wrastling beganne, and the Norman presented himselfe as a chalenger against all commers, but hee looked lyke Hercules when he advaunst himselfe agaynst Acheloiis, so that the furie of his countenance amazed all that durst attempte to incounter with him in any deed of activitie : til at last a lustie FVancklin of the country came with two tall men, that were his sonnes, of good lyniaments and comely personage : the eldest of these dooing his obeysance to the king entered the lyst, and presented himselfe to the Norman, who straight coapt with him, and as a man that would triumph in the glorie of his strength, roused himselfe with such furie, that not onely hee gave him the fall, but killed him with the weight of his corpulent personage ; which the yoonger brother seeing, lepte presently into the place, and thirstie after the revenge, assayled the Norman with such valour, that at the first incounter hee brought him to his knees : which repulst so the Norman, that recovering himselfe, feare of disgrace doubling his strength, hee stept so stearnely to the yoong Francklin, that taking him up in his armes hee threw him against the grounde so violently, that hee broake his necke, and so ended his dayes with his brother.' ^1 Shakespeare deviates slightly from the story in giving the iold man three sons, who are grievously hurt but not killed outright. In the novel the father exhibits the most stoical fortitude ; but Shakespeare, following nature, and in this agreeing with the Tale of Gamelyn, describes the * pitiful dole ' the old man made which moved the tears of the beholders. When Gamelyn reaches the spot where the wrestling was, he lighted off his horse, *And ther he herd a frankeleyn wayloway syng, And bigan bitterly his hondes for to wryng.* I prefer to consider this a coincidence rather than an instance in which Shakespeare has deserted the novel to follow the metrical tale. The latter was not printed in his time, though of course he may have seen it in manuscript or the story may Aave been dramatised elsewhere. There \sivoV,\io^^N^x,^\iffiv

PREFACE. XV cient evidence to shew that Shakespeare was indebted to any other original than the novel. But to proceed with the narrative. Rosader offers to avenge the fate of the franklin's sons. * With that Rosader vailed bonnet to the king, and lightly leapt within the lists, where noting more, the companie then the combatant, he cast his eye upon the troupe of ladies that glistered there lyke the starres of heaven ; but at last Love willing to make him as amourous as hee was valiant, presented him with the sight of Rosalynd, whose admirable beautie so inveagled the eye of Rosader, that forgetting himselfe, hee stood and fedde his lookes on the favour of Rosalyndes face ; which shee perceiving, blusht, which was such a doubling of her beauteous excellence, that the bashful redde of Aurora at the sight of unacquainted Phaeton, was not halfe so glorious. *The Normane seeing this young gentleman fettered in the lookes of the ladyes drave him out of his memento with a shake by the shoulder. Rosader looking backe with an angrie frowne, as if hee had been wakened from some pleasaunt dreame, discovered to all by the furye of his countenance that hee was a man of some high thoughts : but when they all noted his youth, and the sweetnesse of his visage, with a general applause of favours, they grieved that so goodly a yoong man should venture in so base an action ; but seeing it were to his dishonour to hinder him from his enterprise, they wisht him to bee graced with the palme of victorie. After Rosader was thus called out of his memento by the Norman, he roughly clapt to him with so fierce an incounter, that they both fel to the ground, and with the violence of the fal were forced to breathe : in which space the Norman called to minde by all tokens, that this was hee whome Saladyne had appoynted him to kil; which conjecture made him stretch every limbe, and try every sinew, that working his death hee might recover thegolde which so bountifuly was promised him. On the contrary part, Rosader while he breathed was not idle, but stil cast his eye upon Rosalynde, who to incourage him. with a favour, lent him such an amoro\is \ooV^^ ^s rnvsgaX-V^^

XVI PREFA CE. made the most coward desperate : which glance of Rosalynd so fiered the passionate desires of Rosader, that turning to the Norman hee ranne upon him and braved him with a strong encounter. The Norman received him as valiantly, that there was a sore combat, hard to judge on whose side fortune would be prodigal. At last Rosader, calling to minde the beautie of his new mistresse, the fame of his fathers honours, and the disgrace that should fal to his house by his misfortune, rowsed himselfe and threw the Norman against the ground, falling uppon his chest with so willing a weight, that the Norman yelded nature her due, and Rosader the victorie.* The play from this point differs considerably from the novel, not so much in the action itself as in the motives for it. For \ instance, in the play the duke's animosity is kindled against Orlando when he finds that he is the son of Sir Rowland 4fi Boys ; *I would thou hadst been son to some man else.* Whereas in the novel, after the wrestling it is said, * but when they knew him to bee the yoongest sonne of Sir John of Bourdeaux, the king rose from his seat and imbraced him, and the peeres intreated him with all favourable curtesie.* y Again, Rosalynd in the novel, though she ends by being in ^ love with Rosader, begins by flirting with him : * she accounted love a toye, and fancie a momentary passion, that as it was taken in with a gaze, might be shaken off with a winke, and therefore feared not to dally in the flame; and to make Rosader know she affiectedhim, tooke from her necke ajewel, aiid sent it by a page to the yong gentleman,' who sends her a sonnet in YNTeturn. Rosader, like Gamelyn, takes to the forest solely on account of the quarrel with his brother. On his return from the wrestling in triumph he finds his brother's gate shut against him, and the only servant who took his part was ' one Adam Spencer, an English man, who had beene an old and trustie servant to Sir John of Bourdeaux.' All this is from the Tale of Gamelyn, which the novel closely follows up to the point when ^Rosader and Adam, knowing M\ w^W ^i^i^ %^tT?L\.Nm^

PREFACE. XVH that led through the vineyards, stole away privily through the province of Bourdeaux, and escaped safe to the forrest of Arden.* Gamely n after escaping to the forest, becomes an outlaw, like Robin Hood, while the fortunes of Rosader have some resemblance to those of Orlando. Act I, Scene 8. Rosalind's banishment, which in Shakespeare is due to the hasty humour of a capricious man, is in the novel attributed to the jealousy of Torismond that she might marry one of the peers of France, who in her^ right would attempt the kingdomp^'To prevent therefore I had I wist in all these actions, shee tarry es not about the I court, but shall (as an exile) ey ther wander to her father, or else seeke other fortunes. In this humour, with a sterne countenance ful of wrath, he breathed out this censure unto her ^ ?fore the peers, that charged her that that night shee were not scene about the court: for (quoth he) I have heard of thy aspiring speeches, and intended treasons. This doome was strange unto Rosalynd, and presently covred with the shield of her innocence, she boldly brake out in reverent tearms to have cleared herself ; but Torismond would admit of no reason, nor durst his lords plead for Rosalynd, although her beauty had made some of them passionate, seeing the figure of wrath pourtrayed in his brow. Standing thus all mute, and Rosalynd amazed, Alinda, who loved her more than herself, with grief in her hart and teares in her eyes, falling down on her knees, began to intreat her father thus.' Then follows ' Alindc^s Oration to her father in defence of Rosalynde,' which has little in common with Celia's^and here again Shakespeare adds a touch of his own, for tBFresult of Alinda's speech is not only that the sentence against Rosalynd is confirmed, but that Alinda is included in it. The incident of the stealthy flight of the two cousins which supplies a motive for the banishment of Oliver is the invention of the dramatist, and he. was enabled in this way to bring in his own creation. Touchstone, for whom, as for the other two original characters in the play, Jaques and Audrey, the story serves as a framework. After tiift. b

XVin PREFA CE. sentence of banishment had been pronounced, Alinda endeavours to cheer the spirits of Rosalynd, and the story proceeds : r* At this Rosalynd began to comfort her, and after shee had wept a fewe kinde teares in the bosome of her Alinda, shee gave her heartie thankes, and then they sat them downe to consult how they should travel. Alinda grieved at nothing but that they might have no man in their company, saying, it would bee their greatest prejudice in that two women went wandring without either guide or attendant. Tush (quoth Rosalynd) art thou a woman, and hast not a sodeine shift to prevent a misfortune ? I (thou seest) am of a tall stature, and would very wel become the person and apparel of a page : thou shalt bee my mistresse, and I wil play the man so properly, that (trust me) in what company so ever I cogie I wil not be discovered. I will buy me a suite, and have my rapier very handsomly at my side, and if any knave ofFgr wrong, your page wil shew him the poynt of his weaponj At this Alinda smiled, and upon this they agreed, aiffTpresently gathered up al their jewels, which they trussed up in a casket, and Rosalynd in all hast provided her of robes ; and Alinda being called Aliena, and Rosalynd Ganimede, they travelled along the vineyardes, and by many by-waies, at last got to the forrest side, where they travelled by the space of two or three dayes without seeing anye creature, being often in danger of wilde beasts, and payned with many passionate sorrowes.* They found, as in the play, verses written on the trees, but they were the verses of Montanus, the Silvius of Shakespeare ; and in the course of their journey they came upon a place where two flocks of sheep did feed. Act II, Scene 4. * Then, looking about, they might perceive where an old shepheard sate (and with him a yoong swaine) under a covert most pleasantly scituated.' These were Goridon and Montanus, *a young man and an old in solemn talk,' which the travellers overheard. When it was over, * Aliena stept with Ganimede from behind the thicket ; at whose sodayne ^ght the shepheards arose, and Aliena saluted them thus :

t as I this I PREFACE. xix ^hepheards, all haile (for such wee deeme you by your flockes), and lovers, good lucke, (for such you seeme by your passions) our eyes being witnesse of the one, and our eares of the ^ther. Although not by love, yet by fortune, I am a distressed gentlewoman, as sorrowfull as you are passionate, and as full of woes as you' of perplexed thoughts. Wandring this way in a forrest unknown, onely I and my page, wearied ^ith travel, would faine have some place of rest. May you appoint us any place of quiet harbour (bee it never so meane) ^ shall bee thankfull to you, contented in my selfe, and gratelull to whosoever shall be mine host. Goridon, hearing the gentlewoman speake so courteously, returned her mildly and reverently this answere. * Faire mistresse, wee returns you as hearty a welcome you gave us a courteous salute. A shepheard I am, and a lover, as watchful to please his wench as to feed his sheep : ^ of fancies, and therefore, say I, full of follyes. Exhort "^^^ I may, but perswade him I cannot; for love admits neither of counsaile nor reason. But leaving him to his passions, if you be distrest, I am sorrowfull such a faire creature ^s crest with calamitie : pray for you I may, but releeve you * cannot. Marry, if you want lodging, if you vouch to shrewd your selves in a shepheards cottage, my house for this night shall be your harbour. Aliena thankt Goridon greatly, and presently sate her downe and Ganimede by hir, Goridon looking earnestly upon her, and with a curious survey viewing all her perfections applauded (in his thought) her excellence, i and pitying her distresse was desirous to heare the cause of I ^er misfortunes, began to question her thus. ^^ *If I should not (faire Damosell) occasionate offence, or fenew your griefs by rubbing the scar, I would faine crave so much favour as to know the cause of your misfortunes, and why, and whither you wander with your page in so dangerous forest ? Aliena (that was as courteous as she was fay re) made this repJie. Shepheard, a friendly dem^MU^ ox^'j^X. Yv^x^-t \» be offensive, and questions of c\irtes\^ c^tt^ Y^y^^^^'I^^ b 2

XX PREFACE. pardons in their forheads. Know, therefore, to discover my fortunes were to renew my sorrowes, and I should, by discoursing my mishaps, but rake fire out of the cynders. Therefore let this suffice, gentle shepheard : my distress is as great ras my travaile is dangerous, and I wander in this forrest to light on some cotage where I and my page may dwell : for ji/ I meane to buy some farme, and a flocke of sheepe, and so become a shepheardesse, meaning to live low, and content mee with a country life ; for I have heard the swaines saye, that they drunke without suspition, and slept without care. Marry, mistress, quoth Cori^on, if you meane so you came in good time, for my landlord intends to sell both the farme tyll, and the flocke I keepe, and cheape you may have them V for ready money : and for a shepheards Hfe (oh mistres) did you but live a while in their content, you would say the court were rather a place of sorrow then of solace. Here, mistresse, shal not fortune thwart you, but in mean misfortunes, as the losse of a few sheepe, which, as it breedes no beggery, so it can bee no extreanie prejudice : the next yeare may mend all with a fresh increase. Envy stirres not us, we covet not to climbe, our desires mount not above our degrees, nor our thoughts above our fortunes. Care cannot harbour in our cottages, nor doe our homely couches know broken slumbers : as wee exceed not ill [? in] dyet, so we have inough to satisfie : and, mistresse, I have so much Latin, satis est quod sufficit.^ * By my trueth, shepheard (quoth Aliena) thou makest mee in love with your countrey life, and therfore send for thy landlord, and I will buy thy farme and thy flocks, and thou shalt still under me bee overseer of them both: onely for pleasure sake I and my page will serve you, lead the flocks to the field, and folde them. Thus will I live quiet, unknowne, and contented. This newes so gladded the hart of Goridon, that he should not be put out of his farme, that putting off his shepheards bonnet, he did hir all the reverence that he might. But all this while sate Montanus \tv a m>3se, thinking of the crueltie of his Phoebe, whom \ie wooed \oxv^, \iw\.^^ vsv \iq

PREFACE. XXI hope to win. I Ganimede, who stil had the remembrance of/ Rosader in his thoughtes, tooke delight to see the poore shepheard passionate, laughing at love, that in all his actions was so imperious. At last, when she had noted his teares that stole down his cheekes, and his sighes that broke from the center of his heart, pittying his lament, she demaunded of Coridon why the yong shepheard looked so sorrowfull ? Ah sir (quoth he) the boy is in love.' J After listening to an amoroui'Somiet from Montanus, Aliena and Ganimede accompanied Coridon to his cottage, * Where Montanus parted from them, and they went in to rest. Aliena and Ganimede glad of so contented a shelter, n^e merry with the poore swaine ; and though they had but countrey fare and course lodging, yet their welcome was so S^eate, and their cares so little, that they counted their diet delicate, and slept as soundly as if they had beene in the court of Torismond. The next morne they lay long in bed, as ^earyed with the toyle of unaccustomed travaile ; but assoone as they got up, Aliena resolved there to set up her rest, and ^y the heipe of Coridon swapt a bargaine with his landslord, and so became mistres of the farme and the flocke, her selfe P^^ting on the attyre of a shepherdesse, and Ganimede of ^ yong swaine : everye day leading foorth her flockes, with such delight, that she held her exile happy, and thoght no content to the blisse of a countrey cottage.* The narrative now goes back to the fortunes of Rosader, ^ho like Orlando is driven from home by the harshness and jealousy of his brother, but the story at this point has nothing 'n common with the play, except that Rosader takes with him his father's servant old Adam Spencer and makes for the forest of Arden. Act II, Scene 6. * But Rosader and Adam, knowing full well the secret waies that led through the vineyards, stole away privily through the province of Bourdeaux, and escaped safe to the Forrest of Arden. Being come tVvel\\e.x,\.\v«^\^ gMtbey bad so good a harbor: but fortune ^^vJ\lO \s»\^e,>iJofc

xxii PREFACE. I camelion) variable with every object, and constant in nothjng but inconstancie, thought to make them myrrours of her mutabilitie, and therefore still crost them thus contrarily. Thinking still to passe on by the bywaies to get to Lions, they chanced on a path that led into the thicke of the forrest, where they wandred five or sixe dayes without meate, that they were almost famished, finding neither shepheard nor cottage to relieve them; and hunger growing on so extreame, Adam Spencer, (being olde) began to faint, and sitting him downe on a hill, and looking about him, espied where Rosader laye as feeble and as ill perplexed: which sight TQade him shedde teares, and to fall into these bitter tearmes.* J He then rails on fortune in good set terms with many quaint conceits, and finally proposes to take his own life in order to diminish the misfortunes of Rosader. What follows is instructive as showing a contrast to Shakespeare's tender rreatment of the same scene. * As he was readie to go forward in his passion, he looked earnestly on Rosader, and seeing him chaunge colour, hee rose up and went to him, and holding his temples, said, What cheere, maister ? though all faile, let not the heart faint : the courage of a man is shewed in the resolution of his death. At these wordes Rosader lifted up his eye, and looking on Adam Spencer, began to weep. Ah, Adam, quoth he, I sorrow not to dye, but I grieve at the maner of my death. Might I with my launce encounter the enemy, and so die in the field, it were honour, and content: might I (Adam) combate with some wilde beast, and perish as his praie, I were satisfied; but to die with hunger, O, Adam, it is the extreamest of all extreames ! Maister (quoth he) you see we are both in one predicament, and long I cannot live without meate; seeing therefore we can finde no foode, let the death of the one preserve the life of the other. I am old, and overworne with age, you are yoong, and are the hope of many honours : let me then dye, I will presently cut my veynes, and, maister, with the warme bJood relieve your fainting spirites : sucke on that til|

PREFACE, XXm 1 ende, and you be comforted. With that Adam Spencer wis ready to pull out his knife, when Rosader full of courage (though verie faint) rose up, and wisht A. Spencer to sit there til his returne ; for my mind gives me, quoth he, I shall hring thee meate. With that, like a mad man, he rose up, and raunged up and downe the woods, seeking to encounter some wilde beast with his rapier, that either he might carry | his friend Adam food, or else pledge his life in pawn for his J loyaltie. * -^ Act n. Scene 7. * It chaunced that day, that Gerismond, I the lawfull king of France banished by Torismond, who with a lustie crue of outlawes lived in that forest, that day in honour of his birth made a feast to all his bolde yeomen, and frolickt it with store of wine and venison, sitting all at a long table under the shadow of lymon trees. To that place by chance fortune conducted Rosader, who seeing such a crue of brave "^en, having store of that for want of which hee and Adam perished, hee stept boldly to the boords end, and saluted the company thus : — ' Whatsoever thou be that art maister of these lustie squiers, I salute thee as graciously as a man in extreame distresse may: ^now, that I and a fellow friend of mine are here famished in the forrest for want of food : perish wee must, unlesse relieved W thy favours. Therefore, if thou be a gentleman, give meate to men, and to such as are everie way worthie of life. Let the proudest squire that sits at thy table rise and incounter with mee in any honorable point of activitie whatsoever, and if hee and thou proove me not a man, send me away comfortlesse. If thou refuse this, as a niggard of thy cates, I will have amongst you with my sword ; for rather wil I dye valiantly, then perish with so cowardly an extreame. Gerismond, looking him earnestly in the face, and seeing so proper a gentleman in so bitter a passion, was mooved with so great pitie, that rising from the table, he tooke him by the hand and badde him welcome, willing him to sit downe in his place, and in his roorae tvot oxval^ to eat his fill, but [be] the lord of ttie ie^kst. Gx'axsvsxc^^'ss

XXIV PREFACE, (quoth Rosader) but I have a feeble friend that lyes hereby famished almost for food, aged and therefore lesse able to abide the extremitie of hunger then my selfe, and dishonour it were for me to taste one crumme, before I made him partner of my fortunes : therefore I will runne and fetch him, and then 1 wil gratefully accept of your proffer. Away hies Rosader to Adam Spencer, and tels him the newes, who was glad of so happie fortune, but so feeble he was that he could not go ; wherupon Rosader got him up on his backe, and brought him to the place. "Which when Gerismond and his men saw, they greatly applauded their league of friendship ; and Rosader, having Gerismonds place assigned him^ would not sit there himselfe, but set downe Adam Spencer.^ | In the conversation niatfollows Rosader and Gerismond make themselves known to each other, and the latter hears of his daughter's banishment. Act III, Scene 1. * The flight of Rosader came to the eares of Torismond, who hearing that Saladyne was sole heire of the landes of Sir John of Bourdeaux, desirous to possesse suche faire revenewes, found just occasion to quarrell with Saladyne about the wrongs he proffered to his brother ; and therefore, dispatching' a herehault, he sent for Saladyne in all poast haste. Who marvelling what the matter should be, began to examine his owne conscience, wherein hee had offended his highnesse ; but imboldened with his innocence, he boldly went with the herehault unto the court; where, assoone as hee Xrame, hee was not admitted into the presence of the king, but presently sent to prison.' ■ ' Here he indulges in a remorseful soliloquy on the wrongs he had done to Rosader. • * In the depth of his passion, hee was sent for to the king, who with a looke that threatened death entertained him, and demaunded of him where his brother was ? Saladyne made answer, that upon some ryot made against the sheriffe of the , sA/re^ he was Bed from Bourdeaux, but he knew not whither. Aa^ villaine (quoth, he) I have heard oi V\i^ vjxwv^'ks* >Qftss^

PREFACE. XXV hast proffered thy brother, since the death of thy father, and^X by thy means have I lost a most brave and resolute chevaliers Therefore, in justice to punish thee, I spare thy life for thy fathers sake, but banish thee for ever from the court and countrey of France ; and see thy departure be within tenne tiayes, els trust me thou shalt loose thy head. And with that the king flew away in a rage, and left poore Saladyne greatly perplexed ; who grieving at his exile, yet determined to bear it with patience, and in penaunce of his former follies to tra' vaile abroade in every coast till he had found out his brother Rosader.' Act III, Scene 2. Rosader wanders through the forest carving the praises of his mistress upon the trees, and meets with the disguised Ganimede and Aliena. On one of these occasions, * Ganimede, pittying her Rosader, thinking to drive him out of his amorous melancholy, said, that now the sunne was in his meridionall heat, and that it was high noone, therefore wee shepheards say, tis time to go to dinner ; for the sunne and our stomackes are shepheards dials. Therefore, forrester, if thou wilt take such fare as comes out of our homely scrips, welcome shall answere whatsoever thou wantest ^n delicates. Aliena tooke the entertainment by the ende, and ^olde Rosader hee should bee her guest. He thankt them "Cartily, and sat with them downe to dinner, where they had such cates as countrey state did allow them, sawst with such Content, and such sweete prattle, as it seemed farre more sweet %n all their courtly junkets. Assoone as they had^ taken their repast, Rosader, giving them thankes for his good cheajje, Would have been gone ; but Ganimede, that was loath to let* him passe out of her presence, began thus: Nay, forrester, ^ quoth she, if thy busines be not the greater, seeing thou saist I thou art so deeply in love, let me see how thou canst wooe : I I will represent Rosalynde, and thou shalt bee as thou art, I Rosader. See in some amorous eglogue, how if Rosalynd I were present, how thou couldst court her •, aud while we slu^ V of Jove, Aliena shall tune her pipe aud p\a.\e \3ls "av^o^\^» ^

XXVI PREFACE. Then follows ' the wooing eglogue ' which is somewhat ^J^edious and certainly supplied Shakespeare with no hint. But ^ in the novel as in the play (Act IV, Scene i) there is the mock I wedding, in which Aliena plays the priest. * And thereupon I (quoth Aliena) He play the priest : from this daye forth GaniI mede shall call thee husband, and thou shalt cal Ganimede I wife, and so weele have a marriage.* Here, as elsewhere in the story, it is worth while observing that Aliena takes the lead, which is in keeping with her position with regard to Rosalynd who acts as her page. Shakespeare, by making >J them pass as brother and sister, gives the greater prominence ^to Rosalind, whose character throughout is the stronger. Act IV, Scene 3. *A11 this while did poore Saladyne (banished from Bourdeux and the court of France by Torismond) wander up and downe in the forrest of Arden, thinking to get to Lyons, and so travail through Germany into Italie : but the forrest beeing full of by pathes, and he unskilful! of the country coast, slipt out of the way, and chaunced up into the desart, not farre from the place where Gerismond was, and his brother Rosader. Saladyne, wearie with wandring up and downe, and hungry with long fasting, finding a little cave by the side of a thicket, eating such fruite as the forest did affoord, and contenting himselfe with such drinke as nature had provided and thirst made delicate, after his repast he fell in a dead sleepe. As thus he lay, a hungry lyon came hunting downe the edge of the grove for pray, and espying Saladyne began to ceaze upon him : but seeing he lay still without any motion, he left to touch him, for that lyons hate to pray on dead cark asses ; and yet desirous to have some foode, the lyon lay downe and watcht to see if he would stirre. While thus Saladyne slept secure, fortune that was careful of her champion began to smile, and brought it so to passe, that Rosader (having stricken a deere that but slightly hurt fled through the thicket) came pacing downe by the grove with a boare-speare in bis hande in great haste. He spyed where a man lay a sleepe, and a lyon fast by him : amazed at t\i\s s\^\., ^s \v^ s\aci^

PREFACE. XXVU gazing,, his nose on the sodaine bledde, which made him conjecture it was some friend of his. Whereuppon drawing more nigh, he might easily disceme his visage, perceived by his phisnomie that it was his brother Saladyne, which drave Rosader into a deepe passion, as a man perplexed at the sight of so unexpected a chance, marvelling what should drive his brother to traverse those secrete desarts, without any companie, in such distresse and forlorne sorte. But the present time craved no such doubting ambages, for he must eyther resolve to hazard his life for his reliefe, or else steale away, and leave him to the crueltie of the lyon.* After much debate with himself Rosader finally resolves upon acting the nobler part. 'With that his brother be^an to stirre, and the lyon to rowse himselfe, whereupon Rosader sodainly charged him with the boare speare, and wounded the lion very sore at the first stroke. The beast feeling himselfe to have a mortall hurt, leapt at Rosader, and with his pawes gave him a sore pinch on the brest, that he had almost fain ; yet as a man most valiant, in whom the sparks of Sir John Bourdeaux remained, he recovered himselfe, and in short combat slew the lion, who at his death roared so lowd that Saladyne awaked, and starting up, was aniazed at the sudden sight of so monstrous a beast lying slaine by him, and so sweet a gentleman wounded.* Saladyne ultimately recognizes Rosader. * Much ado there Was betweene these two brethren, Saladyne in craving pardon, and Rosader in forgiving and forgetting all former injuries ; the one submisse, the other curteous ; Saladyne penitent and passionate, Rosader kynd and loving, that at length nature Working an union of their thoughts, they earnestly embraced, and fell from matters of unkindnesse, to talke of the country life, which Rosader so highly commended, that his brother began to have a desire to taste of that homely content. In this humor Rosader conducted him to Gerismonds lodge, and presented his brother to the king, discouvsliv^ the whole matter how all had hapned betwixt them. . • • Ks^ooxv^ ^ V^^-^V^^

f XXVlil PREFACE. taken their repast, and had wel dined, Rosader tooke his brother Salad yne by the hand, and shewed him the pleasures of the forrest, and what content they enjoyed in that mean estate. Thus for two or three dayes he walked up and downe with his brother to shew him all the commodities that belonged to his walke. In which time hee was mist of his Ganymede, who mused greatly (with Aliena) what should become of their forester.* An incident in the novel, which accounts for the sudden falling in love of Saladyne and Aliena, is altogether omitted by Shakespeare. A band of robbers attempt to carry oflf Aliena, Rosader encounters them single-handed, but is wounded and almost overpowered, when his brother comes to the rescue. While Ganimede is dressing Rosader's wounds, Aliena and Saladyne indulge in some * quirkes and quiddities of love,* the course of which is told with considerable detail. Aliena's secret is soon extorted from her by Ganimede. Act III, Scene 5. * With this Ganimede start up, made her ready, and went into the fields with Aliena, where unfolding their flockes, they sate them downe under an olive tree, both of them amorous, and yet diversely affected, Aliena joying in the excellence of Saladyne, and Ganimede sorrowing for the wounds of her Rosader ; not quiet in thought till shee might heare of his health. As thus both of them sate in their dumpes, they might espie where Coridon came running towards them (almost out of breath with his hast). What newes with you (quoth Aliena) that you come in such post ? Oh, mistres (quoth Coridon) you have a long time desired to see Phoebe, the faire shepheardesse whom Montanus loves ; so now if you please, you and Ganimede, to walk with mee to yonder thicket, there shall you see Montanus and her sitting by a fountaine, he courting her with her countrey ditties, and she as coy as if she held love in disdaine.* Concealed in a thicket, they overhear the passionate pleadings of Montanus, and Phoebe's disdainful rejoinder : ^ Wert thou (Montanus) as faire as Pans, as Wt^^ ^W^tVw ^

PREFACE, XXIX as constant as Troylus, as loving as Leander, Phoebe could not love, because she cannot love at all : and therefore if thou pursue me with Phcebus I must flie with Daphne. *Ganimede overhearing all these passions of Montanus, could not brooke the crueltie of Phcebe, but starting from behind the bush said : And if, damzell, you fled from mee, I would transforme you as Daphne to a bay, and then in contempt trample your branches under my feet. Phcebe at this sodaine replye was amazed, especially when shee saw so faire a swaine as Ganimede ; blushing therefore, she would have bene gone, but that he held her by the hand, and prosecuted his reply thus : What, shepheardesse, so faire and so cruell ? Disdaine beseemes not cottages, nor coynesse maids ; for either they be condemned to be too prowd, or too froward .... Love while thou art / yoong, least thou be disdained when thou art olde. Beautie I nor time cannot be recalde, and if thou love, like of Montanus ; i for if his desires are many, so his deserts are great. J 'Phoebe all this while gazed on the perfection of Ganimede, as deeply enamored on his perfection as Montanus inveigled with hers.' In the issue she sends a letter to Ganimede by Montanus which brings about an interview, in some respects resembling Act V, Scene 2. * I am glad, quoth Ganimede, you looke into your own faults, and see where your shoo wrings you, Pleasuring now the pains of Montanus by your owne passions. Truth, q. Phoebe, and so deeply I repent me of my frowardnesse towards the shepheard, that could I cease to love Ganimede, I would resolve to like Montanus. What if I can with reason perswade Phoebe to mislike of Ganimede, wil she then favour Montanus? When reason (quoth she) doth quench that love I owe to thee, then will I fancie him ; conditionally, that if my love can bee supprest with no reason, as being without reason, Ganimede will onely wed himselfe to Phoebe. I graunt it, faire shepheardesse, quoth he ; and to feed thee with the sweetnesse of hope, this resolve on; \ nn'^w^n^x xsvaxx-^ \se\ J\ selfe to woman but unto thy selfe.'

XXX PREFACE. Ganimede then goes in search of Rosader, whom she finds with Saladyne and Aliena sitting in the shade and recovering from his wounds. * I had not gone abroad so soone, quoth Rosader, but that I am bidden to a marriage, which, on Sunday next, must bee solemnpnized betweene my brother and Aliena. I see well where love leads delay is loathsome, and that small wooing serves where both the parties are willing. Truth, quoth Ganimede ; but a happy day should it be, if Rosader that day might be married to Rosalynd. Ah, good Ganimede (quoth he), by naming Rosalynd, renue not my sorrowes; for the thought of her perfections is the thrall of my miseries. Tush ; bee of good cheare, man, quoth Ganimede : I have a friend that is deeply experienst in negromancy and magickef^hat art can do shall be acted for tRine aavaiitage. I wil cause him to bring in Rosalynde, if either France or any bordring nation harbour her ; and upon that take the faith of a yoong shepheard.* Act V, Scene 4. The day arrived for the wedding of Saladyne and Aliena, and the guests where assembled, when there * came in Montanus, apparalled all in tawny, to signifie that he was forsaken: on his head hee wore a garland of willow, his bottle hanged by his side, whereon was painted dispaire, and on his sheephooke hung two sonnets, as lables of his loves and fortunes.* Gerismond read the sonnets and heard the story of his loyalty and Phoebe's cruelty from Rosader. He then, 'desirous to prosecute the ende of these passions, called in Ganimede, who knowing the case, came in graced with such a blush, as beautified the christall of his face with a ruddie brightnesse. LThe king noting well the phisnomy of Ganimede, began by his favours to cal to mind the face of his Rosalynd, and with that fetcht a deepe sighT) Rosader, that was passing familiar with Gerismond, demanded of him why he sighed so sore ? Because, Rosader (quoth hee), the favour of Ganimede puts mee in minde of Rosalynde. At this word Hosader sight so deeply, as though his heart would have burst. And wbats the matter (quoth Gerismond^ t\iat ^om c^\\fe t^^^

PREFACE, XXxi with such a sigh ? Pardon me, sir (quoth Rosader), because I love none but Rosalynd. And upon that condition (quoth i Gerismond) that Rosalynd were here, I would this day make up a marriage betwixt her and thee. At this Aliena turnd her head and smilde upon Ganimede, and shee could scarce keep countenance* Yet shee salved all with secrecie ; and Gerismond, to drive away his dumpes, questioned with Ganimede, what the reason was he regarded not Phoebes love, seeing she was as faire as the wanton that brought Troy to mine? Ganimede mildly answered. If I shuld affect the faire Phoebe, I should offer poore Montanus great wrong to winne that from him in a moment, that hee hath labored for so many j monthesJ'Yet have I promised to the bewtiful shepheardesse W\» towed my selfe never to woman except unto her; but with this promise, that if I can by reason suppresse Phoebes love towards me, she shall like of none but of Montanus^^jTo that, q. Phoebe, I stand; for my love is so far beyond reason, as wil admit no persuasion of reason. For justice, q. he, lappeale to Gerismond: and to his censure wil I stand, q. Phoebe. And in your victory, q, Montanus, stands the hazard of roy fortunes, for if Ganimede go away with conquest, Montanus is in conceit loves monarch : if Phoebe winne, then am 1 in effect most miserable. We wil see this controversie, q. Gerismond, and then we will to church : therefore, Ganimede, ied us heare your argument. Nay, pardon my absence a while (quoth shee), and you shall see one in store. 'In went Ganimede and drest her self in womans attire, having on a gowne of greene, with kirtle of rich sandall, so quaint, that she seemed Diana triumphing in the forrest : upon her head she wore a chaplet of rose?, which gave her such a grace that she looked like Flora pearkt in the pride of all her floures. Thus attired came Rosalind in, and presented hir self at hir fathers feete, with her eyes full of teares, craving his blessing, and discoursing unto him all her fortunes, how shee was banished by Torismond, and how ever since she lived ^ tAat country disguised,*

XXXU PREFACE, The part of Hymen in the play is in the novel performed by the priest at the church, and all ends happily. In the midst of the wedding festivities, * word was brought in to Saladyne and Rosader that a brother of theirs, one Femandine, was arived, and desired to speake with them.* He brings the news to Gerismond that the twelve peers of France were up in arms to recover his right, and Torismond was ready to bid them battle. Gerismond with Saladyne and Rosader joined the peers in battle. Torismond's army was put to flight and himself slain. Gerismond made Rosader his heir apparent, restored to Saladyne his father's land, and appointed Femandine his principal secretary, Montanus lord over all the forest of Arden, Adam Spencer captain of the king's guard, and Coridon master of Alinda's flocks. It is unnecessary to point out in detail the manner in which Shakespeare dealt with the story on which he founded his play, and which he made as it were a framework for his own creations, Jaques, Touchstone, and Audrey. Enough has been given to enable the reader to do this for himself. The character of Adam has a personal interestjn connexion with Shakespeare, because an old tradition which was current in the last century attributed to the poet the performance of this part in his own play. From Oldys's collections for a life of Shakespeare, which covered several quires of paper, Steevens extracted the following story, which must be taken for what such gossip is usually worth. * One of Shakespeare's younger brothers, who lived to a good old age, even some years, as I compute, after the restoration of K, Charles II, would in his younger days come to London to visit his brother fFUI, as he called him, and be a spectator of him as an actor in some of his own plays. This custom, as his brother's fame enlarged, and his dramatic entertainments grew the greatest support of our principal, if not of all our theatres, he continued it seems so long after his brother's cfeath, as even to the latter end oiMs o^uVA^. T\\^ cxaVis\\.>^

PREFACE. XXxiii at this time of the most noted actors to learn something from him of his brother, &c., they justly held him in the highest veneration. And it may be well believed, as there was besides a kinsman and descendant of the family, who was then a celebrated actor among them [Cbar/es Harte; see Shakespeare's Will], this opportunity made them greedily inquisitive into every little circumstance, more especially in his dramatick character, which his brother could relate of him. But he, it seems, was so stricken in years, and possibly his memory so weakened with infirmities (which might make him the easier pass for a man of weak intellects) that he could give them but * little light into their enquiries ; and all that could be recollected from him of his brother ffii/y in that station was, the faint, general, and almost lost ideas he had of having once seen him act a part in one of his own comedies, wherein being to personate a decrepit old man, he wore a long beard, and appeared so weak and drooping and unable to walk, that he was forced to be supported and carried by another person to a table, at which he was seated among some company, who were eating, and one of them sung a song.' To the same eflfect Capell writes : — * A traditional story was current some years ago about Stratford,—that a very old man of that place, — of weak intellects, but yet related to Shakespeare, — being ask'd by some of his neighbours, what he remember'd abbut him ; answer'd, — that ^e saw him once brought on the stage upon another man's back ; which answer was apply 'd by the hearers, to his having seen him perform in this scene the part of Adam.' This story came to Capell from Mr. Thomas Jones of ^urbich (or Tarbick) (in Worcestershire), and Malone sugSests that he may have heard it from Richard Quiney (died ^^5^,aEt. 69) or Thomas Quiney, Shakespeare's son-in-law, who lived till 1663 or thereabouts, or from one of the Hathaway s. The comparison of the world to a theatre, and the division of man's life into seven ages, thoM^Yi \i^\. V\vcy«T^ Sxotov. Sbakespeare, are not of his own mvetvlVon, \ti NiJftfe oVs.tJss:^ C

XXXIV PREFACE. of Damon and Pythias (Dodsley's Old Plays, ed. Hazlitt, iv, 31) the following passage occurs : 'Pythagoras said, that this world was like a stage, Where many play their parts : the lookers on, the sage Philosophers are, saith he, whose part is to learn The manners of all nations, and the good from the bad to discern.* Cervantes has the same comparison in Don Quixote (part ii, cap. 12). We find in Arnold's Chronicle (ed. 181 1), p. 157, quoted by Staunton : * The vij. Ages of Ma lining T the World. The furst age is infancie and lastith from y® byrth vnto vij» yere of age. The ij. is childhod and endurith vnto xv. yere age. The iij. age is adholocencye and endurith vnto xxv. yere age. The iiij. age is youthe and endurith vnto xxxv. yere age. The v. age is manhod and endurith vnto 1. yere age. The vi. age is [elde] and lasteth vnto Ixx. yere age. The vij, age of ma is crepill and endurith vnto dethe.' A good deal of the literature of this subject has been collected by Mr. Winter Jones, in an interesting paper which he published in the Archaeologia (xxxv. 167-189) on a block print of the fifteenth century which is in the British Museum. The so-called verses of Solon, quoted by Philo, De opificio mundi, are there given, as well as the passage in which Philo attributes to Hippocrates the division of man's life into seven periods. In the Mishna (Aboth, V. 24) fourteen periods are given, and a poem upon the ten stages of life was written by the great Jewish commentator Ibn Ezra. The Midrash on Ecclesiastes i. 2 goes back to the seven divisions. The Jewish literature is very fully given by Low in his treatise Die Lebensalter in der J'udischen Literaiur, Sir Thomas Browne devotes a chapter of his Vulgar Errors (iv. 12) to a consideration of the various divisions which have been proposed. Some verses of an early German poem on the ages of man's life are quoted by Mr. Winter Jones ind illustrated by quaint woodcuts. The subject was one with

PREFACE, XXXV which Shakespeare might have become familiar from manysources, and as an instance of one of the forms in which it is emblematically treated I would refer to the pavement of the Cathedral of Siena, of which a description is given by Professor Sidney Colvin in the Fortnightly Review for July 1875 (PP* 53j 4). After describing other portions he says, * And then, about 1473, begins a period of immense activity. One little set of emblems in the south transept, defaced but singularly beautiful, belongs to this period, and differs strangely from all the other work done in it. The seven ages of man are shewn in single white figures set in squares or diamonds of black. These ages are not divided as usual : four divisions are given to the time before manhood, as if to draw out as much as possible that season when life is life indeed. There is no mewling and puking, nor any whining schoolboy : Infantia is a naked child playing among flowers ; Puerhia an Italian boy in short cloak and cap walking in the fields ; the season of youth is spun out, always among flowers, through Adohscentia and Jwventus; manhood is not a soldier full of strange oaths and bearded like a Pard, but a studious citizen walking with open book ; Decrepitas moves, over a land flowerless at last, on crutches to hv& open grave.' I cannot conclude this Preface without especially mentioning a work which marks an era in Shakespeare literature, the Shakespeare Lexicon of Dr. Alexander Schmidt of Konigsberg. My own obligations to it are too numerous to record, for I have used it constantly and always with advantage. It is a book which every real student of Shakespeare should have at hand. W. A. WRIGHT. Trinity College Cambridge, 2 October, 1876. ■M

ADDITIONAL NOTE. III. 2. 243. The statement that ' moe ' is used only with the plural requires a slight modificatioD. So far as I am aware there is but one instance in Shakespeare where it is not immediately followed by a plural, and that is in The Tempest, v. I. 234 (first folio), 'And mo diversitie of sounds.' But in this case also the phrase * diversity of sounds ' contains the idea of plurality.

AS YOU LIKE IT. DRAMATIS PERSON>E. DUKB, Uring in banishment Frederick, his brother, and usurper of his dominions. Amiens,! lords attending on the banished Taques. J duke. 1^ Beau, a courtier attending upon Frederick. CiyiRL.BS, wrestler to Frederick. .'OLIVER, ) JAQUBS. > sons of Sir- Rowkmd de Boys. fkl^NDO, j DEJOiis,} savants to OUver. .'JTOUCHSTONB, a dqwn. SIR Oliver Martext, a vicar. SILVIUS.} shepherds. William, a country fellow, in love with Aqdrey. A person reprcsentinjf Hymen. Rosalind, daughter to the banished duke. Cblia, dau};liter to Frederick. Pheue. a shepherdess. AUDREY, a country wench. Lords, pages, and attendants. &c. Scene: Oltvers house; Duke Frederick's co\trt; and tJu Forest of Ardeit. ACT I. Scene I. Orchard of Oli'ver's house. Enter ORLANDO and Adam. OrL As I remember, Adam, it was upon this fashion bequeathed me by will but poor a thousand crowns, and, as thou sayest, charged my brother, on his blessing, to breed me well : and there begins my sadness. My brother Jaques he keeps at school, and report speaks goldenly of his profit: for tny part, he teeps me rustically at home, or, to speak more properly, stays me here at home unkept ; for call you that keeping for a gentleman of my birth, that differs not from the stalling of an ox ? His horses are bred better ; for, besides that they are fair with their feeding, they are taught their manage, and to that end riders dearly hired: but I, his brother, gain nothing under him but growth ; for the "which his animals on his dunghills are ?& Ta\iO[v\^Q>>xcA \5^ btn as L Besides this nothing that he so i^\«w\:\l\iSL^ ^n^ B

a AS FOU LIKE IT. me, the something that natm*e gave me his countenance seems to take from me: he lets me feed with his hinds, bars me ^^ (-,- the place of a brother, and, as much as in hiin lies, mines my gentility with my education. This is it, Adam, that grieves me ; and the spirit of my father, which I think is within me, begins to mutiny against this servitude: I will no longer endure it, though yet I know no wise remedy how to avoid it. 22 Adam. Yonder comes my master, your brother. OrL Go apart, Adam, and thou shalt hear how he will shake me up. Enter OLIVER. OIL Now, sir! what make you here? Orl, Nothing: I am not taught to make any thing. OH, What mar you then, sir? OrL Marry, sir, I am helping you to mar that which God made, a poor unworthy brother of yours, with idleness. OIL Marry, sir, be better employed, and be naught awhile. 32 OrL Shall I keep your hogs and eat husks with them? What prodigal portion liave I spent, that I should come to such penury ? OH Know you where you are, sir? OrL O, sir, very well: here in your orchard. OH. Know you before whom, sir ? OrL Ay, better than him I am before knows me. I know you are my eldest brother ; and, in the gentle condition of blood, you should so know me. The courtesy of nations oL allows you my better, in that you are the first-bom ; But the same tradition takes not away my blood, were there twenty brothers betwixt us : I have as much of my father in me as you; albeit, I confess, your coming before me is nearer to L /. ' his reverence. 4^ OH. What, boy! OrL Come, come, elder brother, you are too young in this.

ACT I. SCENE I. 3 OIL Wilt thou lay hands on me, villain? 50 OrL I am no villain ; I am the youngest son of Sir Rowland de Boys; he was my father, and he is thrice a villain that says such a father, begot villains. Wert thou not my brother, I would not take this hand from thy throat till this other had pulled out thy tongue for saying so: thou hast railed on thyself^ Adam, Sweet masters, be patient: for your father's remembrance, be at accord. Olu Let me go, I say. 59 Orl, I will not, till I please: you shall hear me. My father, charged you in his will to give me good education : you have trained me like a peasant, obscuring and hiding from me all gentleman-like qualities. The spirit of my father grows strong in me, and I will no longer endure it: therefore allow me such exercises as may become a gentleman, or give me the poor allottery my father left me by testament; with that I will go buy my fortunes. OH. And what wilt thou do? beg, when that is spent? Well, sir, get you in : I will not long be troubled with you ; you shall have some part of your will: I pray you, leave me. 71 Orl. I will no further offend you than becomes me for my good. Oli: Get you with him, you old dog. Adam, Is *old dog*^ my reward? Most true, I have lost my teeth in your service. God be with my old master ! he would not have spoke such a word« [Exiunt Orlando and Adam. Oli. Is it even so? begin you to grow upon me? I willphysic your rankness, and yet give no thousand crowns neither. Holla, Dennis! 80 Enter Dennis. Den. Calls your worship? OH. Was not Charles, the duke's wrestler, here to st^-jSl with me? B a

4 AS you LIKE IT. Den. So please you, he is here at the door and importunes access to you, OIL Call him in, [Exit Dennis. '\ 'Twill .b^ a good way ; and to-morrow the wrestling is. Enter CHARLES. Cha. Good morrow to your worship. Oil. Good Monsieur Charles, what *s the new news at the new court? 90 Cha. There 's no news at the court, sir, but the old news : that is, the old duke is banished by his younger brother the new duke; and three or four loving lords have put themselves into voluntary exile with him, whose lands and revenues enrich the new duke ; therefore he gives them good leave to wander. OH. Can you tell if Kosalind, the duke's daughter, be banished with her father? 98 Cha. O, no ; for the duke's daughter, her cousin, so loves her, being ever from their cradles bred together, that she would have followed her exile, or have died to stay behind her. She is at the court, and no less beloved of her uncle than his own daughter ; and never two ladies loved as they do. OH. Where will the old duke live? Cha. They say he is already in the forest of Arden, and a many merry men with him; and there they live like the old Robin Hood of England: they say many young gentlemen flock to him every day, and fleet the time carelessly, as they did in the golden world. no OH, What, you wrestle to-morrow before the new duke ? Cha. Marry, do I, sir ; and I came to acquaint you with a matter. I am given, sir, secretly to understand that your younger brother Orlando hath a disposition to come in disguised against me to try a fall. To-morrow, sir, I wrestle for my credit ; and he that escapes me without some broken limb shall acquit him well. Your brother is but young and tender; and, for your love, I would be loath to foil him, as

ACT I. SCENE /. 5 I must, for my own honour, if he come in : therefore, out of my love to you, I came hither to acquaint you withal, that either you might stay him from his intendment or brook such disgrace well as he shall run into, in that it is a thing of his own search and altogether against my will. 123 OH. Charles, I thank thee for thy love to me, which thou shalt find I will most kindly requite. I had myself notice of my brother's purpose herein and Have by underhand means laboured to dissuade &im from it, but he is resolute. TU tell thee, Charles : it is the stubbomest young fellow of France, full of ambition, an envious emulator of every man's go6d parts, a secret and villanous contriver against me his natural brother: therefore use thy discretion; I had as lief thou didst break his necTc as his finger, ^nd thou wert best look to't; for if thou dost him any slight disgrace, or if he do riot mightily grace himself on thee, he will practise agafnst thee by poison, entrap thee by some treacherous device and never leave thee till he hath ta*en thy life by some indirect means or other ; for, I assure thee, and almost with tears I speak it, there is not one so young and so villanous this day living. I speak but brotherly of him; but should I anatomize him to thee as he is, I must blush and weep, and thou must look pale and wonder. 141 Cba. I am heartily glad I came hither to you'. If he come to-morrow, FU give him his payment i if ever he go alone again. Til never wrestle for prize more : and so, God keep your worship! OH, Farewell, good Charles. [Exit Charles^ Now will I stir this gamester: I hope t shall see an, end of him; for my soul, yet I know not why, hates nothing more than he. Yet he's^ gentle, never schooled and yet teamed, full of noble device, of all sorts enchantingly beloved, and indeed so much in the heart of the world, and especially of my own people, who best know him, that I am altogether misprised : but it sh^ not be so long; this wrestler shall clear all: nothing remains but that I kindle the boy thither; which now Til fo about \E.xi\. /

AS YOU LIKE IT. Scene II. Lamtn before the Duke^s palace. Enter Celia and Rosalind, CeL I pray thee, Rosalind, sweet my coz, be merry. Rjos, Dear Celia, I show more mirth than I am mis tress of; and would you yet I were merrier ? Unless yo could teach me to forget a banished father, you must no learn me how to remember any extraordinary pleasure. CeL Herein I see thou lovest me not with the fu! weight that I love thee. If my uncle, thy banished fathei had banished thy uncle, the duke my father, so thou hads been still with me, I could have taught my love to taki thy father for mine: so wouldst thou, if the truth of th; love to me were so righteously tempered as mine is t< thee. I; Kos. Well, I will forget the condition of my estate, t< rejoice in yours. CeL You know my father hath no child but I, nor non< is like to have: and, truly, When he dies, thou shalt be hi heir, for what he hath taken away from thy father perforce I will render thee again in affection ; by mine honour, I will and when I break that oath, let me turn monster : therefore my sweet Rose, my dear Rose, be merry^ "Rjos, From henceforth I will, coz, and devise sports. Le me see; what think you of falling in love? 2; CeL Marry, I prithee, do, to make sport withal : but lov< no man in good earnest ; nor no further in sport neither thai with safety of a pure blush thou mayst in honour come of again. Ros. What shall be our sport, then? CeL Let us sit and mock the good housewife Fortune from her wheel, that her gifts may henceforth be bestowec equally. y -Roj. I would we could do so, tor Yiex beiisSAs ^x^tca"^

ACT I. SCENE II. 7 misplaced, and the bountiful blind woman doth most mistake in her gifts to women. ^ Cel. 'Tis true; for those that she makes fair she scarce makes honest, and those that she makes honest she makes very ill-favouredly. iiflj. Nay, now thou goest from Fortune's office to Nature's : Fortune reigns in gifts of the world, not in the lineaments of Nature. 39 Enter TOUCHSTONE. G?/. No? when Nature hath made a fair creature, may she not by Fortune fall into the fire ? Though Nature hath given us wit to flout at Fortune, hath not Fortune sent in this fool to cut off the argument ? I fiftf. Indeed, there is Fortune too hard for Nature, when Fortune makes Nature's natural the cutter-oflf of Nature's wit Cel Peradventure this is not Fortune's work neither, but Nature's ; who perceiveth our natural wits too dull to reason of such goddesses and hath sent this natural for our whetstone; for always the dulness of the fool is the whetstone of the wits. How now, wit! -whither wander you? ^oiuh. Mistress, you must come away to your father. G?/. Were you made the messenger? 53 ^ouch. No, by mine honour, but I was bid to come for you. Ros, Where learned you that oath, fool? '^oucb. Of a certain knight that swore by his honour ^67 were good pancakes, and swore by his honour the njustard was naught: now I'll' stand to it, the pancakes ^^^^ naught and the mustard was good, and yet was not "^^ knight forsworn. 61 ^A How prove you that, in the great heap of your knowledge ? -^oj. Ay, marry, now unmuzzle your wisdom. ^^«!cA Stand you both forth now: strote'^o\ix 0KL\^&^^5A ^Gar by your beards that I am a knave*

8 AS rOU LIKE IT. CeL By our beards, if we had them, thou art. 7(mcJb. By my kH^ery, if I had it, then I were; but if you swear by that that is not, you are not forsworn: no more was this knight, swearing by his honour, for he never had any ; or if he had, he had sworn it away before ever Jie saw those pancakes or that mustard. 72 Cei. Prithee, who is't that thou meanest? ^oucb. One that old Frederick, your father, loVes. CeL My father's love is enough to honour him : enough ! speak no more of him ; youHl be whipped for taxation one of these days. 7ouch, The more pity, that fools may not speak wisely what wise men do foolishly. CeL By my troth, thou sayest true J for since the little wit that fools have was silenced, the little foolery that wise men have makes a great show. Here comes Monsieur Le Beau. 83 Ros. With his moutli full of news. CeL Which he will put on us, as pigeons feed their young, Roj. Then shall we be news-crammed. CeL All the better; we shall be the more marketable. Enter Le Beau* Bon jour. Monsieur Le Beau: what's the news? Le Beau. Fair princess, you have lost much good sport. CeL Sport! of what colour? 91 Le Beau. What colour, madam ! how shall I answer you ? Roj. As wit and fortune will. Touch. Or as the destinies decree. CeL Well said: that was laid on with a trowel. Touch. Nay, if I keep not my rank, — Roj. Thou losest thy old smell. Le Beau. You amaze me, ladies : I would have told you of good wrestling, which you h^ve lost the sight of.

ACT I. SCENE n. 9 Ros, Yet tell us the manner of the wrestling. loo Le Beau. I will tell ybu the beginning; and, if it please your ladyships, you may see the end ; for the best is yet to do; and here, where you are, they are coming to perfonn it. Cel. Well, the beginning, that is dead and buried, Le Beau* There comes an old man and his three sons, — CeL I could match this beginning with an old tale. Le Beau. Three proper young men, of excellent growth and presence. Ros, With bills on their necks, *Be it known unto all men by these presents.* iii Le Beau. The eldest of the three \^estled with Charles, the duke's wrestler ; which Charles in a moment threw him and broke three of his ribs, that there is little hope of life in him : so he served the second, and so the third. Yonder they lie ; the poor old man, their father, making such pitiful dole over them that all the beholders take his part with weeping. Ros. Alas ! 7ouch. But what is the sport, monsieur, that the ladies have lost? 121 Le Beau. Why, this that I speak of. ^ Touch. Thus men may grow wiser every day: it is the first time that ever I heard breaking of ribs was sport for ladies. Cel. Or I, I promise thee. Rjos. But is there any else longs to see this broken music in his sides? is there yet another dotes upon rib-breaking? Shall we see this wrestling, cousin ? Le Beau. You must, if you stay here; for here is the place appointed for the wrestling, and they are ready to perform it. 132 CeL Yonder, sure, they are coming : let us now stay and see it.

lO AS YOU LIKE IT, Flourish. Enter DUKE FREDERICK, Lords^ ORLANDO, Charles, and Attendants. Duke F. Come on : since the youth wUl not be entreated, bis own peril on his forwardness. Ros, Is yonder the man? Le Beau, Even he, madam. Cel. Alas, he is too young! yet he looks successfully. Duke F, How now, daughter and cousin ! are you crept hither to see the wrestling? 141 Ros, Ay, my liege, so please you give us leave. Duke F, You will take little delight in it, \ can tell you ; there is such odds in the man. In pity of the challenger's * youth I would fain dissuade him, but he will not be entreated. Speak to him, ladies; see if you can move him. Cel, Call him hither, good Monsieur Le Beau, Duke F, Do so: I'll not be by. Le ^au. Monsieur the challenger, the princess calls for you. 150 Orl, I attend them with all respect and duty. Ros, Young man, have you challenged Charles the wrestler ? Orl, No, fair princess; he is the general challenger: I come but in, as others do, to try with him the strength of my youth. Cel, Young gentleman, yoiu* spirits are too bold for your years. You have seen cruel proof of this man's strength: if you saw yourself with your eyes or knew yourself with your judgement, the fear of your adventure would counsel you to a more equal enterprise. We pray you, for your own sake, to embrace yoiu* own safety and give over this attempt. 163 Ros, Do, young sir; your reputation shall not therefore be misprised : we will make it our suit to the duke that the wrestling might not go forward, OrA I beseech you, punisYv ma ud "wJiJcL ^\a Xsax^

ACT I. SCENE II. II thoughts; wherein I confess me much guilty, to deny so fair and excellent ladies any thing. But let your fair eyes and gentle wishes go with me to my trial: wherein if I be foiled, there is but one shamed that was never gracious; if killed, but one dead that is willing to be so : I shall do my friends no wrong, for I have none to lament me, the world no injury, for in it I have nothing ; only in the world I fill up a place, which may be better supplied when I have made it empty. 176 Ros. The little strength that I have, I would it were with you. Cel, And mine, to eke out hers. Ros, Fare you well: pray heaven I be deceived in you? Cel. Your heart's desires be with you! 181 Cba, Come, where is this young gallant that is so desirous to lie with his mother earth? OrL Ready, sir; but his will hath in it a more modest working. Duke F. You shall try but one fall. Cba. No, I warrant your grace, you shall not entreat him to a second, that have so mightily persuaded him from a first. Orl. You mean to mock me after; you should not have mocked me before: but come your ways. 191 Ros, Now Hercules be thy speed, young man! Cel. I woidd I were invisible, to catch the strong fellow by the leg. [IT^ey wrestle. Roj. O excellent young man! Cel. If I had a thunderbolt in mine eye, I can tell who should down. [Shout, Charles is tbrofwn. Duke F. No more, no more, OrL Yes, I beseech your grace: I am not yet well breathed. 200 Duke F. How dost thou, Charles? Le Beau. He cannot speak, my lord.

lOl AS rOU LIKE IT. Duke F. Bear him away. What is thy name, young man? Orl. Orlando, my liege j the youngest son of Sir Rowland de Boys. Duke F. I would thotr hadst been son to some riian else : The world esteemM thy father honourable; But I did find him still mine enemy: Thou shouldst have better pleased me with this deed, 210 Hadst thou descended from another house. But fare thee well; thou art a gallant youth: I would thou hadst told me of another father. [Exeunt Duke Frederick, train, and Le Beau, CeL Were I my father, coz, would I do this ? Orl, I am more proud to be Sir Rowland's son, His youngest son; and would not change that calling, To be adopted heir to F^rederick* « Ros, My father loved Sir Rowland as his soul, And all the world was of my father's mind : Had I before known this young man his son, 220 I should have given him tears unto entreaties, Ere he should thus have Ventured. CeL Gentle cousin, Let us go thank him and encourage him: My father's rough and envious disposition Sticks me at heart. Sir, you have well deserved^ If you do keep your promises in love But justly, as you have exceeded all promise,^ Your mistress shall be happy. Ros, Gentleman, [Giving him a chain from her neck. Wear this for me, one out of suits with fortune. That could give more, but that her hand lacks means. 230 Shall we go, coz? CeL Ay. Fare yoii well, fair gentleman. OrL Can I not say, I thank you? My better parts Are all thrown down, and that V7\v\e\v "\\exe ?XasAs m^ Is but a quintain, a mere liieVess YAocfe..

ACT I. SCENE II. 13 Rat. He calls us back: my pride fell with my fortunes; 111 ask him what he would. Did you call, sir? Sir, you have wrestled well and overthrown More than your enemies. Celf Will you go, coz? Roj. Have with you. Fare you well. [Exeunt Rosalind and Celia, OrL What passion hangs these weights upon my tongue ? I cannot speak to her, yet she urged conference. 241 O poor Orlando, thpu art overthrown! Or Charles or something weaker masters thee. Re-enter Le Beau. Le Beau. Good sir, I do in friendship counsel yoi| To leave this place. Albeit you have deserved High commendadon, true applause and love. Yet such is now the duke's condition That he misconstrues all that you have done. The duke is humorous : what he is indeed, More suits you to conceive than I to speak of. 250 OrL I thank you, sir: and, pray you, tell me this; Which of the two was daughter of the duke That here was at the wrestling? Le Beau, ' Neither his daughter, if we judg^ by manners ; But yet indeed the lesser is his daughter: The other is daughter to the banish*d duke. And here detained by her usurping uncle. To keep his daughter company ; whose loves Are dearer than the natural bond of sisters. But I can tell you that of late this duke 260 Hath ta'en displeasure 'gainst his gentle niece, Grounded upon no other argument But that the people praise her for her virtues f And pity her for her good father's sake ; And, on my life, his malice 'gainst the lady Win suddenly break forth. Sir, fare you well: Hereafter, in a Jbetter world than this, / sbaU desire more love and knowledge oi '^oai.

14 AS rOU LIKE IT. OrL I rest much bounden to you: fare you weD. [Exit Le Btau. Thus must I from the smoke into the smother; J70 From tyrant duke unto a tyrant brother: But heavenly Rosalind! \Exiu Scene III. A room in the palace. Enter CELIA and ROSALIND. CeL Why, cousin! why, Rosalind! Cupid have mercy! not a word? Kos* Not one to throw at a dog. CeU No, thy words are too precious to be cast away upon curs; throw some of them at me; come, lame me with reasons. Kos, Then there were two cousins laid up; when the one should be lamed with reasons and the other mad without any. CeL But is all this for your father? '10 Ros, No, some of it is for my child's father. O, how fiill of briers is this working- day world ! CeL They are but burs, cousin, thrown upon 4:hee in holiday foolery : if we walk not in the trodden paths, our very petticoats will catch them. Kos, I could shake them off my coat : these burs are in my heart. CeL Hem them away. Ros, I would try, if I could cry hem and have him, CeL Come, come, wrestle with thy affections. 20 Ro5, O, they take the part of a better wrestler than myself! CeL O, a good wish upon you! you will try in time, in despite of a /a/J. But, turning these Jests o>3l of service, let us talk in good earnest : is it possible, on ^viOo. ^ ^m^^^-cl.

ACT I. SCENE in, 15 you should fall into so strong a liking with old Sir Rowland's youngest son? Roj. The duke my father loved his father dearly. 28 Cf/. Doth it therefore ensue that you should love his son dearly? By this kind of chase, I should hate him, for my father hated his father dearly: yet I hate not Orlando. ^os. No, faith, hate him not, for my sake. Cel Why should I not? doth he not deserve well? •Roj. Let me love him for that, and do you love him ^cause I do. Look, here comes the duke. G?/. With his eyes full of anger. Enter DUKE FREDERICK, with Lords. ^uke F, Mistress, despatch you with your safest haste And get you from our court. •^oj. Me, uncle? ^i^^ F, You, cousin: ^ithin these ten days if that thou be'st found 40 ^^ Hear our public court as twenty miles, -^hou diest for it. -^oj. I do beseech your grace, ^^t me the knowledge of my fault bear with me: " Mrith myself I hold intelligence ^ have acquaintance with mine own desires, ^ tihat I do not dream or be not frantic, — j^ I do trust I am not— then, dear uncle, r* ^Ver so much as in a thought unborn i^ I offend your highness. , -^uke F. Thus do all traitors: _^ their purgation did consist in words, 50 *xey are as innocent as grace itself: ^t it suflfice thee that I trust thee not. -foj. Yet your mistrust cannot make me a traitor: ^^1 me whereon the likelihood depends. -^ic^if F. Tbou art thy father's daugYvtef, \.\!ket^'^ ^xwo^"^

l6 AS YOU LIKE IT. Ros, So was I when your highness took his dukedom; So was I when your highness banish'd him; Treason is not inherited, my lord; Or, if we did derive it from our friends, What *s that to me ? my father was no traitor ; 60 Then, good my liege, mistake me not so much To think my poverty is treacherous. Cel, Dear sovereign, hear me speak. DttJ^e F, Ay, Celia; we stay*d her for your sake, Else had she with her father ranged along. CeL I did not then entreat to have her stay; , It was your pleasure and your own remorse ; "-? < I was too young that time to value her; But now I know her.: if she be a traitor, "Why so am I ; we still have slept together. Rose at an instant, leam'd, play'd, eat together, 70 And wheresoever we went, like Juno's swans, Still we went coupled and inseparable. Dtike F, She is too subtle for thee ; and her smoothness^ Her very silence and her patience Speak to the people, and they pity her. Thou art a fool : she robs thee of thy name ; And thou wilt show more bright and seem mpre virtuoips When she is gone. Then open not thy lips: Firm and irrevocable is my doom 80 Which I have passed upon her ; she is banish'd. Cel, Pronounce that sentence then on me, my liege: I cannot live out of her company, Duke F, You are a fool. You, niece, jH-ovide yourself: If you outstay the time, upon mine honour. And in the greatness of my word, you die. ^Exeunt Duke Frederick and Lords, CeL O my poor Rosalind, whither wilt thou go? Wilt thou change fathers? I will give thee mine. J charge thee, be not thou more grieved than I am. •^i^j. I have more cause.

ACT n SCENE III, 17 O/. Thou hast not, cousin; 90 Prithee, be cheerful: know'st thou not, the duke Hath banish'd me, his daughter? Roj, That he hath not. CeJ. No, hath not? Rosalind lacks then the love Which teacheth thee that thou and I am one : Shall we be sunder'd? shall we part, sweet girl? No : let my father seek another heir. Therefore devise with me how we may fly, Whither to go and what to bear with us; And do not seek to take your change upon you, To bear your griefs yourself and leave me out ; ico For, by this heaven, now at our sorrows pale. Say what thou canst, V\l go along with thee. Roj. Why, whither shall we go? % CeL To seek my uncle in the forest of Arden. Roj^ Alas, what danger will it be to us. Maids as we are, to travel forth so far! Beauty provoketh thieves sooner than gold. Cel. rU put myself in poor and mean attire And with a kind of umber smirch my face; The like do you: so shall we pass along no And never stir assailants. Rat* Were it not better,. Because that I am more than common tall, That I did suit me all points like a man ? A gallant curtle-axe upon my thigh, A boar-spear in my hand; and — in my heart Lie there what hidden woman's fear there will — We'll have a swashing and a martial outside, As many other mannish cowards have That do outface it with their semblances. C^i, What shall I call thee when thou art a man? 120 Rati I'll have no worse a name than Jove's own page ; • And therefore look you call me Ganymede.. ^at wbdt will you be caJI'd ?

l8 ASf YOU LIKE IT. CeL Something that hath a reference to my state; No longer Celia, but Aliena. Ros, But, cousin, what if we assay'd to steal The clownish fool out of your father's court? Would he not be a comfort to our travel? CeL He'll go along o'er the wide world with me ; Leave me alone to woo him. Let's away, 130 And get our jewels and our wealth together, Devise the fittest time and safest way To hide us from pursuit that will be made After my flight. Now go we in content To liberty and not to banishment. [Exeunt. ACT IL Scene L The Forest of Arden, Enter DuKE senior, Amiens, and two or three Lords, like foresters, Duke S. Now, my co-mates and brothers in exile. Hath not old custom made this life more sweet Than that of painted pomp? Are not these woods More free from peril than the envious court? ,

r ' i ACT II. SCENE I. 19 'Ami. Happy is your grace, That can translate the stubbornness of fortune Into so quiet and so sweet a style. 20 Duke S, Come, shall we go and kill us venison? And yet it irks me the poor dappled fools, Being native burghers of this desert city, Should in their own confines with forked heads Have their round haunches gored. First Lord, Indeed, my Lord, The melancholy Jaques grieves at that. And, in that kind, swears you do more usurp Than doth your brother that hath banish'd you. To-day my lord of Amiens and myself Did steal behind him as he lay along 30 Under an oak, whose antique root peeps out ^c«^^.,. Upon the brook that brawls along this wood: To the which place a poor sequestered stag. That from the hunter's aim had ta*en a hurt. Did come to languish, and indeed, my lord. The wretched animal heaved forth such groans That their discharge did stretch his leathern coat Almost to bursting, and the big round tears Coursed one another down his innocent nose In piteous chase; and thus the hairy fool, 40 Much marked of the melancholy Jaques, Stood on the extremest verge of the swift brook, Augmenting it with tears. Duke S. But what said Jaques? Did he not moralize this spectacle? First Lord. O, yes, into a thousand similes. First, for his weeping into the needless stream ; * Poor deer,* quoth he, * thou makest a testament As worldlings do, giving thy sum of more To that which had too much * : then, being there alone, Left and abandon'd of his velvet friends, 50 * 'Tis right,' quoth he ; ' thus misery doth part The flux of company ' : anon a careYess \i

20 AS rOU LIKE IT. Full of the pasture, jumps along by him And never stays to greet him ; ' Ay,' quoth Jaques^ * Sweep on, you fat and greasy citizens; 'Tis just the fashion : wherefore do you look Upon that poor and broken bankrupt there ?*■ ■' ^.. ^... Thus most invectively he pierce th through .'^ - • dc First Lord. Til bring you to him straight. \Exeunt. Scene II. A room in the palace. Enter BvKE FREDERICK,

ACT 77. SCENE III. 21 And she believes, wherever they are gone, That youth is surely in their company. £>tiJke F, Send to his brother; fetch that gallant hither; If he be absent, brii^g his brother to me; ril make him find bim: do this suddenly, And let not search and inquisition quail .^ 20 To bring again these foolish runaways. [Exeunu Scene III. Before OLIVER'S bouse. Enter ORLANDO and ADAM, meeting. OrL Who's there? Adum. What, my young master? O my gentle master! O my sweet master ! O you memory Of old Sir Rowland ! why, what make you here ? 'Why are you virtuous ? why do people love you ? And wherefore are you gentle, strong and valiant? Why would you be so fond to overcome The bonny priser of the humorous duke ? Your praise is come too swiftly hpme before you. Know you not, master, to some kind of men 10 Their graces serve them but as enemies? No more do yours: your virtues, gentle master. Are sanctified and holy traitors to you. "0, what a world is this, when what is comely Envenoms him that bears it! OrL Why, what's the matter? 'ddam, O unhappy youth! ^ome not within these doors ; within this roof ^^e enemy of all your graces lives: ^our brother — no, no brother; yet the son — ^t not the son, I will not call him son 20 ?J Him I was about to call his father — i;^^l:i heard your praises, and this night he means ^^ l>um the lodging where you use to lie Tf^^ you within it : if he fail of that, ^ will have other means to cut you off.

22 AS VOU LIKE IT. r f I overheard him and his practices. This is no place; this house is but a butchery: Abhor it, fear it, do not enter it. OrL Why, whither, Adam, wouldst thou have me go? Adam. No matter whither, so you come not here. 30 OrL What, wouldst thou have me go and beg my food? Or with a base and boisterous sword enforce A thievish living on the common road? This I must do, or know not what to do: Yet this I will not do, do how I can; I rather will subject me to the malice f . /^ - Of a diverted blood and bloody brother. Adam, But do not so. I have five hundred crowns, u, .'-hi J. The thrifty hire I saved under your father, Which I did store to be my foster-nurse 40 When service should in my old limbs lie lame And unregarded age in comers thrown: Take that, and He that doth the ravens feed. Yea, providently caters for the sparrow. Be comfort to my age I Here is the gold; All this I give you. Let me be your servant: Though I look old, yet I am strong and lusty; For in my youth I never did apply Hot and rebellious liquors, in my blood, Nor did not with unbashfiil forehead woo 50 The means of weakness and debility; Therefore my age is as a lusty winter, Frosty, but kindly: let me go with you; ril do the service of a younger man In all your business and necessities. OrL O good old man, how well in thee appears The constant service of the antique world, When service sweat for duty, not for meed! Thou art not for the fashion of these times, Where none will sweat but for promotion, 60 And having that, do choke thevt service xsl^ Even with the having : it is not so mVii >3ttee»

ACT II, SCENE IV. ^ut, poor old man, thou prunest a rotten tree, That cannot so much as a blossom yield ^n Jieu of all thy pains and husbandry, ^ut come thy ways; we'll go along together, ^nd ere we have thy youthful wages spent, *^e*ll light upon some settled low content.. '^dam. Master, go on, and I will follow thee, ^o the last gasp, with truth and loyalty. 70 '^'"oin seventeen years till now almost fourscore "^i*e lived I, but now live here no more. ^t seventeen years many their fortunes seek ; ^t at fourscore it is too late a week: ' ^t fortune cannot recompense me better ^^n to die well' and not my master's debtor. \Exeunt, Scene IV. like Forest of Arden. Enter ROSALIND /or Ganymede, GELiA/or Aliena, and Touchstone. -iJflj, O Jupiter, how weary are my spirits! '^ouch, I care not for qiy spirits, if my legs were not -Rfl/. I could find in my heart to disgrace my man's apparel d to cry like a woman ; but I must comfort the weaker as doublet and hose ought to show itself courageous petticoat : therefore courage, good Aliena ! CeL I pray you, bear with me; I cannot go no further. ^tmcb. For my part, I had rather bear with you than bear e ccmtent, *" he so, good Touchstone.

24 -^^ YOV LIKE IT. Enter CORIN and SiLVIUS. Look you, who comes here; a young man and an old in solemn talk. Cor. That is the way to make her scorn you still. SiL O Corin-, that thou knew'st how I do love her! 20 Cor, I partly guess; for I have loved ere now. SiL No, Corin, being old, thou canst not guesSy Though in thy youth thou wast as true a lover As ever sigh*d upon a midnight pillow: But if thy love were ever like to mineAs sure I think did never man love so — How many actions most ridiculous Hast thou been drawn to by thy fantasy? Cor, Into a thousand that I have forgotten. SiL O, thou didst then ne'er love so heartily! 30 If thou remember'st not the slightest folly That ever love did make thee run into, Thou hast not loved : Or if thou hast not sat as I do now. Wearing thy hearer in thy mistress* praise, Thou hast not loved : Or if thou hast not broke from company Abruptly, as my passion now makes me, Thou hast not loved. 0 Phebe, Phebe, Phebe ! [Exit. Roj, Alas, poor shepherd! searching of thy wound, 41 1 have by hard adventure found mine own. ToucA. And I mine. I remember, when I was in love I broke my sword upon a stone and bid him take that for coming a-night to Jane Smile ; and I remember the kissing of her batlet and the cow's dugs that her pretty chopt hands had milked ; and 1 remember the wooing of a peascod instead of her, from whom I took two cods and, giving her them again, said with weeping tears * Wear these for my sake.' We that are true lovers run into strange capers: but as ail is mortstl in nature, so is all nature in love mortal in folly. 51

ACT II. SCENE IV. %^ Thou speakest wiser than thou art ware of. -*oa^^^^ jijay^ I gjjaji ne*er be ware of mine own wit till ^*^a.lc my shins against it. ^^^•*« Jove, Jove! this shepherd's passion Is much upon my fashion. ^^^c-h. And mine ; but it grows something stale with me. ^ ^^^^^ I pray you, one of you question yond man *^^ for gold will give us any food : * ^'^ii:xt almost to death. ^^^^^€b. Holla, you clown! 60 ^^^, Peace, fool: he's not thy kinsman. ^^^. Who calls? ^ ^^4cL Your betters, sir. ^^^-y. Else are they very -wretched. "oj. Peace, I say. Good even to you, friend. ^'Or. And to you, gentle sir, and to you all. -oj. I prithee, shepherd, if that love or gold ^5^ in this desert place buy entertainment, J"^^g us where we may rest ourselves and feed: ^^e's a young maid with travel much oppressed ' "^^ faints for succour. ^^or. Fair sir, I pity her r^^ wish, for her sake more than for mine own, ' 70 ^V" fortunes were more able to relieve her; ^^^ I am shepherd to another man ^Jf^^ do not shear the fleeces that I graze; ^''V master is of churlish disposition ^^d little recks to find the way to heaven ^ doing deeds of hospitality : Asides, his cote, his flocks and bounds of feed Q'**^ now on sale, and at our sheepcote now, ^^^ treason of his absence, there is nothing '^at you will feed on ; but what is, come see, 80 ^^ in my voice most welcome shall you be. ^oj. What is he that shall buy Yvis ^ocV ^.xi^ '^^X^^x^-I

26 AS YOU LIKE IT. Cor. That young swain that you saw here but erewhile, That little cares for buying anything. Ros. I pray thee, if it stand with honesty, Buy thou the cottage, pasture and the flock, And thou shalt have to pay for it of us. Cel. And we will mend thy wages. I like this place, And willingly could waste my time in it. Cor. Assuredly the thing is to be sold: 90 Go with me: if you like upon report The soil, the profit and this kind of life, I will your very faithful feeder be - •' ' >And buy it with your gold right suddenly. [Exeunt. Scene V. The forest. Enter Amiens, Jaques, and others. Song. Ami. Under the greenwood tree Who loves to lie with me, And turn his merry note Unto the sweet bird's throat, Come hither, come hither, come hither: Here shall he see No enemy But winter and rough weather. Jaq. More, more, I prithee, more. . 9 Ami. It will make you melancholy, Monsieur Jaques. Jaq. I thank it. More, I prithee, more. .1 can suck melancholy out of a song, as a weasel sucks eggs. More, I prithee, more. Ami. My voice is ragged: I know I cannot please you. Jaq. I do not desire you to please me ; I do desire you to sing. Come, more; another stanzo: call you *em stanzos? -ri^/; What you will, Monsieur Jaqvies.

ACT II. SCENE V. 2/ Jaq, Nay, I care not for their names; they owe me nothing. Will you sing? Ami. More at your request than to please myself. 20 Jaq» Well then, if ever I thank any man, I'll thank you ; but that they call compliment is like the encounter of two dog-apes, and when a man thanks me heartily, methinks I have given him a penny and he renders me the beggarly thanks. Gome, sing; and you that will not, hold your tongues. Ami. Well, ril end the song. Sirs, cover the while ; the duke will drink under this tree. He hath been all this day to look you. Jaq. And I have been all this day to avoid him. He is too disputable for my company : I think of as many matters as he, but I give heaven thanks and make no boast of them. Come, warble, come. 33 Song. Who doth ambition shun [Ail together here. And loves to live i' the sun. Seeking the food he eats And pleased with what he gets. Come hither, come hither, come hither: Here shall he see No enemy 40 But winter and rough weather. Jaq. ril give you a verse to this note that I made yesterday in despite of my invention. Ami. And Til sing it. Jaq, Thus it goes: — If it do come to pass That any man turn ass. Leaving his wealth and ease, A stubborn will to please, Ducdame, ducdame, ducdame: 50 Here shall he see Gross fools as he, An if he will come to me.

^J 1Z8 AS rOU LIKE IT. Ami, What's that 'ducdame'? Jaq, 'Tis a Greek invocation, to call fools into a circla ril^o^ sleep, if I can; if I cannot, 1*11 rail against all thz firstborn of Egypt. Ami. And Til go seek the duke: his banquet is pr* pared. [Exeunt severalm Scene VI. The forest. Enter ORLANDO and ADAM. Adam. Dear master, I can go no further: O, I die food ! Here lie I down, and measure out my grave. Fai — well, kind master. Orl. Why, how now, Adam! no greater heart in the^ Live a little; comfort a little; cheer thyself a little, this uncouth forest yield any thing savage, I will either '^ food for it or bring it for food to thee. Thy conceit nearer death than thy powers. For my sake be comfortabl— hold death awhile at the arm's end: I will here be wi thee presently; and if I bring thee not something to e^ I will give fhee leave to die : but if thou diest before I con^ thou art a mocker of my labour. Well said ! thou look^ cheerly, and Til be with thee quickly. Yet thou liest in tR^ bleak air : come, I will bear thee to some shelter ; and thc^ shalt not die for lack of a dinner, if there live any thing i this desert. Cheerly, good Adam ! [Bxeur^ Scene VII. The forest. A table set out. Enter DuKE senior, AMIENS, and Lords like outlaws. Duke S. I think he be transformed into a beast: FoT I can no where find him like a man. ^hr/ Zor^. My lord, he is but evexv hot? ^^Xk^ >QeaRfc\ Here was he merry, hearing of a soii^.

ACT 11. SCENE VIT. 29 ^^ S, If he, compact of jars, grow musicaf, ^® shall have shortly discord in the spheres. ^0 Seek him: tell him I would speak with him. Enter Jaques. ^'Vvf/ Lord. He saves my labour by his own approach. ^uie S, Why, how now, monsieur! what a life is this, iaat your poor friends must woo your company? 10 ^'iat, you look merrily! "^^q. A fool, a fool! I met a fool i* the forest, ^ niotley fool; a miserable world! ^ I do live by food, I met a fool; ^ho laid him down and bask'd him in the sun, '^lid rail'd on Lady Fortune in good terms, *^ good set terms and yet a motley fool. Oood morrow, fool,* quoth I. *No, sir,* quoth he, Gall me not fool till heaven hath sent me fortune*: -^^d then he drew a dial from his poke, 20 ^nd, looking^on it with lack-lustre eye, Says very wisely, *It is ten o'clock: * Hus we may see,* quoth he, 'how the world wags: ^is but an hour ago since it was nine, ^ ^d after one hour more *twill be eleven ; ^^d so, from hour to hour, we ripe and ripe, ^^d then, from hour to hour, we rot and rot; J2^^d thereby hangs a tale.* When I did hear A^lie motley fool thus moral on the time, ^^y lungs began to crow, like chanticleer, 30 ^at 'fools should be so deep-contemplative, ^'^d I did laugh sans intermission "V^*^ hour by his dial. O noble fool! Worthy fool! Motley's the only wear. ^like S. What fool is this ? 'A^^. O worthy fool! One that hath been a courtier, •^'^^ says, if ladies be but young and fair, n^y have the gift to know it: and in his brain, y^Hich is as dry as the remainder biscuit ^^er a voyage, he hath strange p\aces ct^xwoC^ v^

v.^ \ 30 AS YOU LIKE IT. With observation, the which he vents In mangled forms. O that I were a fool! ^" I am ambitious for a motley coat. ^ Duke S. Thou shalt have one, 3 . Jaq. It is my only suit^ V Provided that you weed your better judgements " > Of all opinion that grows rank in them V' That I am wise. I must have liberty ] Withal, as large a charter as the wind, ; To blow on whom I please; for so fools have; : And they that are most galled with my folly, 50 They most must laugh. And why, sir, must they so? . The *why* is plain as way to parish church: :3 ^ He that a fool doth very wisely hit Doth very foolishly, although he smart, . [Tjjrrtnff?] seem senseless of the bob : if not, ' The wise man's folly is anatomized 7.'.«./*C/., ■ Even by the squandering glances of the fool. ^^—^-^^i. />-^ Invest me in my motley: give me leave To speak my mind, and I will through and through Cleanse the foul body of the infected world, 60 If they will patiently receive my medicine. Duke S. Fie on thee! I can tell what thou wouldst do. Jaq, What, for a counter, would I do but good ? ■-'' ^ -^"^"^ ' Duke S, Most mischievous foul sin, in chiding sin: For thou thyself hast been a libertine, , \ As sensual as the brutish sting itself; f x^» v5< And all the embossed sores and headed evils, ^ ^, That thou with license of free foot hast caught, N; ^ ; Wouldst thou disgorge into the general world. O: Jaq, Why, who cries out on pride, ^._ ,..,^ '> 70 .

ACT II. SCENE VII. 3 1 "Who can come in and say that I mean her, ^When such a one as she such is her neighbour? Or what is he of basest function That says his bravery is not of my cost, 80 Thinking that I mean him, but therein suits ' His folly to the mettle of my speech ? There then; how then? what then? Let me see wherein My tongue hath wrong'd him: if it do him right. Then he hath wrong'd himself; if he be free, .'

/ 32 AS rOU LIKE IT. That in this desert inaccessible, no Under the shade of melancholy boughs, Lose and neglect the creeping hours of time; If ever you have look'd on better days, If ever been where bells have knolFd to church. If ever sat at any good man's feast. If ever from your eyelids wiped a tear And know what 'tis to pity and be pitied. Let gentleness my strong enforcement be: In the which hope I blush, and hide my sword. DuJke S. True is it that we have seen better days, 120 And have with holy bell been knolPd to church And sat at good men's feasts and wiped our eyes Of drops that sacred pity hath engenderM : And therefore sit you down in gentleness And take upon command what help we have That to your wanting may be minister'd. Orl. Then but forbear your food a little while, Whiles, like a doe, I go to find my fawn And give it food. There is an old poor man. Who after me hath many a weary step 130 Limp'd in pure love; till he be first sufficed, Oppressed with two weak evils, age and hunger, ,fu: i '.'^"U I will not touch a bit. Duke S. Go find him out. And we will nothing waste till you return. Orl, I thank ye; and, be blest for your good comfort! ;: [Exit. Duke S, Thou seest we are not all alone unhappy: This wide and universal theatre Presents more woeful pageants than the scene Wherein we play in. Jaq, All the world ^s a sUgfiiu. And all the men and women merely players: 140 They have their exits and their entrances; And one mah in his time plays many parts, / His acts being seven ages. At first tJaa 'vaiMiN.^

//■-/^ ACT II. SCH'NE Vlh 33 Mewling and puking in the ntifse^ arms. ^ And then the whining school-boy, with his satchel And shining mofning iface, creeping like snail Unwillingly to sichool. And then the lover, Sighing like fiimace, with a woeful ballad • Made to his mistress' eyebrow. Then a soldier, j Full of strange oaths and bearded like the pard, 150 \ Jealous in honour, sudden and quick in quarrel, ; Seeking the bubble reputation Even in the cannon's mouth. And then the justice. In fair round belly with good capon lined, ,' With eyes severe and beard of formal cut, ■; Full of wise saws and modem instances ; ' ./:.<<< \ And so he plays his part. The sixth age shifts / Into the lean and slipperM pantaloon, ' • /■ With spectacles on nose and pouch on side, ; His youthful hose, well saved, a world too wide r6o I For his shrunk shank; and his big manly voice, ; Turning again toward childish treble, pipes i And whistles in his sound. La^t scene of all, ' That ends this strange eventful history. Is second childishness and mere oblivion, Sans teeth, sans eyes, sans taste, sans everything. Re-enter ORLANDO, with Adam. Duke S. Welcome. Set down your venerable burden. And let him feed. Or I, I thank you most for him. Adam, So had you need: I scarce can speak to thank you for myself. 170 Duke S. Welcome; fall to: I will not trouble you As yet, to question you about your fortunes. Give us some music; and, good cousin, sing. Song. Ami, Blow, blow, thou winter wind, Thou art not so unkind As man's ingratitude \

34 AS YOU LIKE IT. Thy tooth is not so keen, Because thou art not seen, Although thy breath be rude. Heigh-ho! sing, heigh-ho! unto the green holly: i8o Most friendship is feigning, most loving mere folly: Then, heigh-ho, the holly! This life is most jolly. Freeze, freeze, thou bitter sky, That dost not bite so nigh As benefits forgot: Though thou the waters warp, Thy sting is not so sharp As friend remember'd not. ^' •' '' *^ -^ Heigh-ho! sing, &c. 190 Duke S. If that you were the good Sir Rowland's son. As you have whi^er'd faithfully you were, And as mine eye doth his effigies witness Most truly limn*d and living in yom* face, Be truly welcome hither: I am the duke That loved your father : the residue of your fortune. Go to my cave and tell me. Good old man. Thou art right welcome as thy master is. Support him by the arm. Give me your hand, And let me all your fortunes understand, [Exeunt, ACT m. Scene I. ji room in the palace. Enter DuKE FREDERICK, Lords, and OLIVER. Duke F. Not see him since? Sir, sir, that cannot be But were I not the better part made mercy, I should not seek an absent argument Of my revenge, thou present. "But \ooV Vo \\.\

ACT III, SCENE II, 35 Find out thy brother, wheresoe'er he is; Seek him with candle; bring him dead or living Within this twelvemonth, or turn thou no more To seek a living in our territory. . Thy lands and all things that thou dost call thine Worth seizure do we seize into our hands, lo Till thou canst quit thee by thy brother's mouth Of what we think against thee. OH. O that your highness knew my heart in this! I never loved my brother in my life. Duke F, More villain thou. Well, push him out of doors ; And let my officers of such a nature , / / Make an extent upon his house and lands: /./. A w.Do this expediently and turn him going. [Exeunt, Scene II. The foresu Enter Orlando, eivith a paper. OH. Hang there, my verse, in witness of my love : • And thou, thrice.-crowned queen of night, survey With thy chaste eye, from thy pale sphere above. Thy huntress' name that my full life doth sway. O Rosalind! these trees shall be my books And in their barks my thoughts I *11 character; That every eye which in this forest looks Shall see thy virtue witnessed every where. Run, run, Orlando; carve on every tree / 9 The fair, the chaste and unexpressive she. >' ■.^. ■ {Exit. Enter CORIN and TOUCHSTONE. Cor, And how like you this shepherd's life. Master Touchstone ? Touch. Truly, shepherd, in respect of itself, it is a good life; but in respect that it is a shepherd's life, it is naught. In respect that it is solitary, I like it very well*, bxit vxv t^^pect that it is private, it is a very \\le \V[e. '^Qr«/\\ix^^\«^^ D a

36 AS YOU LIK£ it. it is in the fields, it pleaseth me well; but in respect it is not in the court, it is tedious. As it is a spare life, look you, it fits my humour well ; but as there is no more plenty in it, it goes much against my stomach. Hast any philosophy in thee, shepherd? 21 Cor, No more but that I know the more one sickens the worse at ease he is; and that he that wants money, means and content is without three good friiends; that the property of rain is to wet and fire to bum ; that good pasture makes fat sheep, and that a greaft cHxase of the "ftight is lack of the sun ; that he that hath learned no wit by nature nor art may complain of good breeding or comes of a very dull kindred. Touch, Such a one is a natural philosopher. Wast ever in court, shepherd? 31 Cor. No, truly. Touch. Then thou art damned. Cor, Nay, I hope. Touch. Truly, thou art damned, like an ill-roasted egg\ all on one side. Cor, For hot being, at coiift? Your reasbn. Touch. Why, if thou never wast at court, thou never sawest good manners ; if thou never sawest good manners, then thy manners must be wicked; and wickedness is sin, and sin is damnation. Thou art in a parlous state, shepherd. 41 Cor. Not a whit. Touchstone : those that are good manners at the court are as ridiculous in the country as the behaviour of the country is most mockable at the court. You told me you salute not at the court, but you kiss your hands: that courtesy would be uncleanly, if courtiers were shepherds. Touch, Instance, briefly; come, instance. Cor. Why, we are still handling our ewes, and their fells, you know, are greasy. Touch. Why, do not your courtier's hands sweat ? and is not the grease of a mutton as wholesome as the sweat

ACT III. SCENE II. 37 Oor. Besides, our hands are hard. ^ouch. Your lips will feel them the sooner. Shallow again. A more sounder instance, come. Cor. And they are often tarred over with the surgery of o^r sheep; and would you have us kiss tar? The courtier's ^nds are perfumed with civet. ^ouch. Most shallow man I thou worma-meat, in respect of * good piece of flesh indeed ! Learn of the wise, and perpend : civet is of a baser birth than tar, the very uncleanly flux of a c*t. Mend the instance, shephprd. 62 Cor. You have too courtly a wit for me : I '11 rest. ^ouch. Wilt thou rest damned? God help thee, shallow '■^n! God make incision in thee! thou art raw. Cor. Sir, I am a true labourer: I earn that I eat, get tbat I wear, owe no man hate, envy no man's happiness, glad of other men's good, content with my harm, and the greatest of my pride is to see my ewes graze and my lambs suck. 70 ^oucb. That is another simple sin in you, to bring the cw€s and the rams together. If thou beest not damned for this, the devil himsdf will have no shepherds ; I cannot see €ke how thou shouldst 'scape. ^. Here comes young Master Ganymede, my new mistress's brother. Enter ROSALIND, fivith a paper^ reading, ^* From the east to western Ind, No jewel is like Rosalind. Her worth, being mounted on the wind. Through all the world bears Rosalind. 80 All the pictures fairest lined Are but black to Rosalind. Let no face be kept in mind But the fair of Rosalind. ^oucb. I *11 rhyme you so eight years together^ dinners and s«TOcrs and sleeping-hours excepted ; it \s l\i^ t\^\. Xsvs^XsxtFOO^n's rank to market.

- ' • / 38 -45- YOU LIKE IT, Ros, Out, fool! Touch, For a taste: If a hart do lack a hind, 90 Let him seek out Rosalind. If the cat will after kind, So be sure will Rosalind. Winter garments must be lined, So must slender Rosalind. They that reap must sheaf and bind ; Then to cart with Rosalind. Sweetest nut hath sourest rind. Such a nut is Rosalind. He that sweetest rose will find 100 Must find love's prick and Rosalind. This is the very false gallop of verses: why do you infect yourself with them > Ros, Peace, you dull fool! I found them on a tree. Touch, Truly, the tree yields bad fruit. Ros, I *11 graff it with you, and then I shall grafF it with a medlar: then it will be the earliest fruit i* the country; for you'll be rotten ere you be half ripe, and that's the right virtue of the medlar. Touch, You have said ; but whether wisely or no, let the forest judge. iii Enter Celia, with a ivriting. Ros. Peace ! Here comes my sister, reading: stand aside. Cel, [Reads] Why should this a desert be? For it is unpeopled? No; Tongues I '11 hang on every tree. That shall civil sayings show: Some, how brief the life of man Runs his erring pilgrimage. That the stretching of a span 120 JBuckles in his »um oi ai^\

.'■ ' ACT in, SCENE II. 39 Some, of violated vows *Twixt the souls of friend and friend: But upon the fairest boughs, Or at every sentence end, Will I Rosalinda write, Teaching all that read to know The quintessence of every sprite Heaven would in little show. Therefore Heaven Nature charged 130 That one body should be fiU'd With all graces wide-enlarged: Nature presently distiird • Helen's cheek, but not her heart, Cleopatra's majesty, Atalanta's better part, Sad Lucretia's modesty. Thus Rosalind of many parts By heavenly synod was devised. Of many faces, eyes and hearts, 140 ' .. . ( J To have the touches dearest prized. Heaven would that she these gifts should have, And I to live and die her slave. Ros. O most gentle pulpiter ! what tedious homily of love have you wearied your parishioners withal, and never cried, * Have patience, good people ' ! CeL How now ! back, friends ! Shepherd, go off a little. Go with him, sirrah. Touch, Come, shepherd, let us make an honourable retreat; though not with bag and baggage, yet with scrip and scrippag. [Exeunt Corin and Touchstone, CeL Didst thou hear these verses ? 152 Ros, O, yes, I heard them all, and more too ; for some of tbem had in them more feet than the verses would bear. CeL That *s no matter : the feet might bear the verses. Ros, Ay, but the feet were lame and could not bear themselves without the verse and therefore stood UmeVf vw l\sa. verse.

40 AS rotr liks it. CeL But didst thou hear without wondering how thy name should be hanged and carved upon these trees? i6o Ros, I was seven of the nine days out of the wonder before you came ; for look here what I found on a palm-tree. I was never so be-rhymed since Pythagoras* time, that I was an Irish rat, which I can hardly remember. CeL Trow you who hath done this? Ros. Is it a man? CeL And a chain, that you once wore, about his neck. Change you colour ? Ros, I prithee, who? 169 CeL O Lord, Lord! It is a hard matter for friends to meet; but mountains may be removed with earthquakes and so encounter. Ros, Nay, but who is it ? CeL Is it possible? Ros, Nay, I prithee now with most petitionary vehemence, tell me who it is. CeL O wonderful, wonderful, and most wonderM wonderful! and yet again wonderful, and after that, out of all hooping! 179 Ros, Good my complexion ! dost thou think, though I am caparisoned like a man, I have a doublet and hose in my disposition? One inch of delay more is a South-sea of discovery; I prithee, tell me who is it quickly, and speak apace. I would thou couldst stammer, that thou mightst pour this concealed man out of thy mouth, as wine comes out of a narrow-mouthed bottle, either too much at once, or none at all. I prithee, take the cork out of thy mouth that I may drink thy tidings. Is he of God*s making ? What manner of man ? Is his head worth a hat, or his chin worth a beard? 190 CeL Nay, he hath but a little beard. Jias, Why, God will send more, \i t\ie m^xi ^V\ \i^ VJoax^

ACT in. SCENM II. 41 jj • ^et me stay the growth of his beard, if thou delay me not ^ knowledge of his chin. ^^* It is young Orlando that tripped up the wrestler's ®*^ and your heart both in an instant. ^®'^« Nay, but the devil take mocking: speak, sad brow ^^ '^xvts maid. ^^. V faith, coz, 'tis he. •'^oj-, Orlando? 200 Orlando. , "^o^r. Alas the day ! what shall I do with my doublet and s^ J "What did he when thou sawest him ? "What said he ? p^P"^ looked he ? Wherein went he ? What makes he here ? 3^ Ite ask for me? Where remains he? How parted he . ^^ thee ? aijd when shalt thou see him again ? Answer me oue word. ^^/. You must borrow me Gargantua*s mouth first : *tis a ^rd too great for any mouth of this age*s size. To say ay -^^ no to these particulars is more than to answer in a ^techism, 2 1 1 ^os. But doth he know that I am in this forest and in ^^^ii*s apparel? Looks he as freshly as he did the day he '^'•^stled ? Oc-/, It is as easy to count atomies as to resolve the pro*^^itions of a lover ; but take a taste of my finding him, and .^lish it with good observance. I found him under a tree, ^^^ a dropped acorn. -^oj. It may well be called Jove's tree, when it drops ^^^h such fruit. 220 Gei, Give me audience, good madam. ^os. Proceed. O/. There lay he, stretched along, like a wounded knight. ^os. Though it be pity to see such a sight, it well becomes ^^ ground. del. Cry ' holla * to thy tongue, I prithee •, it c\iYv^t% wyi.^^^sonably. He was furnished like a YiuxiteT.

42 AS rOU LIKE IT. Ros. O, ominous! he comes to kill my hiart. Cel, I would sing my song without a burden : thou bringest me out of tune. 230 Roj, Do you not know I am a woman ? when I think, I must speak. Sweet, say on. Cel. You bring me out. Soft! comes he not here? Enter ORLANDO and Jaques. Roj, 'Tis he: slink by, and note him. Jaq, I thank you for yom* company; but, good faith, I had as lief have been myself alone. OH, And so had I ; but yet, for fashion sake, I thank you too for your society. 'u., ' ' yQy. ig^>g meet as little as we can. ' * OH, I do desire we may be better strangers. 240 Jaq, I pray you, mar no more trees with writing lovesongs in their barks. OH, I pray you, mar no moe of my verses with readm| them ill-favouredly. Jaq. Rosalind is your love's name? , OH. Yes, just. Jaq, I do not like her name. OH, There was no thought of pleasing you when she was christened. Jaq, What stature is she of? 250 OH, Just as high as my heart. Jaq. You are full of pretty answers. Have you not been acquainted with goldsmiths' wives, and conned them out of rings ? OH, Not so; but I answer you right painted cloth, from whence you have studied your questions. Jaq, You have a nimble wit: I think 'twas made of Atalanta's heels. Will you sit down with me ? and we two will rail against our mistress the world and all our misery. C?r/. I will chide no breather in the world but myself, against whom I know most faults. -x^v

Ea: fy 4Cr III. SCENE II. 43 JJa^. The worst fault you have is to be in love. Orl. *Tis a fault I will not change for your best virtue. I am weary of you. Jaq. By my troth, I was seeking for a fool when I found you. Orl. He is drowned in the brook: look but in, and you siiall see him. Jiiq, There I shall see mine own figure. 269 OrL Which I take to be either a fool or a cipher. \f: Jaq. V\\ tarry no longer with you : farewell, good Signior Love. OrL I am glad of your departure: adieu, good Monsieur Melancholy. [Exit J agues. Ros. [Aside to Celia] I will speak to him like a saucy lackey and under that habit play the knave with him. Do you hear, forester? OrL Very well: what would you? Ros. I pray you, what is't o* clock? OrL You should ask me what time o* day : there *s no clock in the forest. 281 Ros. Then there is no true lover in the forest ; else sighing every minute and groaning every hour would detect the lazy foot of Time as well as a clock. OrL And why not the swift foot of Time ? had not that been as proper ? Ros. By no means, sir : Time travels in divers paces with divers persons. Til tell you who Time ambles withal, who Time trots withal, who Time gallops withal and who he stands still withal. 290 OrL I prithee, who doth he trot withal? Ros. Marry, he trots hard with a young maid between the contract of her marriage and the day it is solemnized : if the interim be but a se*nnight, Time's pace is so hard that It seems the length of seven year.

>*■ 44 ^S YOtT LIKE IT. OrL Who ambles Time withal? Ros. With a priest that lacks Latin and a rich man that hath not the gout, for the one sleeps easily because he cannot study and the other lives merrily because he feels no pain ; the one lacking the burden of lean and wasteful learning, the other knowing no burden of heavy tedious penury; these Time ambles withal. 303 OrL Who doth he gallop withal? Ros, With a thief to the gallows, for though he go as softly as foot can fall, he thinks himself too soon there. Orl. Who stays it still withal ? Ros, With lawyers in the vacation: for they sleep between term and term and then they perceive 9ot how Time moves. Orl, Where dwell you, pretty youth? 310 Ros, With this shepherdess, my sister ; here in the skirts of the forest, like fringe upon a petticoat. OrL Are you native of this place ? Ros, As the cony that you see dwell where she is kindled. OrL Your accent is something finer than you could purchase in so removed a dwelling. Ros, I have been told so of many: but indeed an old religious uncle of mine taught me to speak, who was in his youth an inland man: one that knew courtship too w^i, for there he fell in love. I have heard him read many lectures against it, and I thank God I am not a woman, to be touched with so many giddy oflfences as he hath generally taxed their whole sex withal. 323 OrL Can you remember any of the principal evils that he laid to the charge of women ? Ros, There were none principal: they were all like one another as half-pence are, every one fault seeming monstrous till his fellow-fault came to match it. OrL I prithee, recount some of them. 329 Ros, No, I will not cast away my physic but on those that

ACT Hi. SCENE 11, 45 are sick. There is a man haunts the forest, that abuses our young plants with carving * Rosah'nd ' on their barks ; hangs odes upon hawthorns and elegies on brambles, all, forsooth, deifying the name of Rosalind: if I could meet that fancymonger, I would give him some good counsel^ for he seems to have the quotidian of love upon him. Orl. I am he that is so love-shaked : I pray you, teU me your remedy. Ros. There is none of my uncle's marks upon you: he taught me how to know a man in love ; m. which cage of rushes I am sure you are not prisoner. 341 OrL What were his marks? •I Ros, A lean cheek, which you have iiot ; a blue eye knd sunken, which you have fiot ; an unquestionable spirit, which you have not; a beard neglected, which you have not; but I pardon you for that, for simply your having in beard is a younger brother's revenue: then your hose Should be ungartered, your bonnet unhanded, y6ur sleeve unbuttoned, your shoe untied and every thing about you demonstrating a careless desolation ; but you are no such man ; you are rather pointdevice in your accoutrements as loving yourself than seeming the lover of any other. 352 Orl, Fair youth, I would I could make thee believe I love. Ros, Me believe it! you may as soon make her that you love believe it : .which, I warrant, she is apter to do than to confess she does: that is one of the points in the which women still give the lie to their Consciences. But, in good sooth, are you he that hangs the verses on the trees, wherein Rosalind is so admired ? 360 Ori, I swear to thee, youth, by the white hand of Rosalind, I am that he, that unfortunate he. Ros. But are you so much in love as your rhymes speak ? OrL Neither rhyme nor reason can express how much. Roj. Love is merely a madness, and, I tell you, deserves as well a dark house and a whip as madmen do: and the reason why they are not so punished and cured is, that the

46 AS YOU LIKE, IT, lunacy is so ordinary that the whippers are in love too. I profess curing it by counsel. OrL Did you ever cure any so? 3 ' Ros. Yes, one, and in this manner. He was to imagi me his love, his mistress; and I set him every day to w me: at which time would I, being but a nioonish yout^^ grieve, be effeminate, changeable, longing and liking, prourfr fantastical, apish, shallow, inconstant, full of tears, fuH of smiles, for every passion some thing and for no passion truly any thing, as boys and women are for the most part cattle of this colour; would now like him, now loathe him; then entertain him, then forswear him ; now weep for him, then spit at him ; that I drave my suitor from his mad humour of love to a living humour of madness ; which was, to forswear the full stream of the world and to live in a nook merely monastic. And thus I cured him ; and this way will I take upon me to wash your liver as clean as a sound sheep's heart, that there shall not be one spot of love in 't. 385 OrL I would not be cured, youth. Ros. I would cure you, if you would but call me Rosalind and come every day to my cote and woo me. OrL Now, by the faith of my love, I will : tell me where it is. Ros, Go with me to it and Til show it you : and by the way you shall tell me where in the forest you live. Will you go ? OrL With all my heart, good youth. 394 Ros, Nay, you must call me Rosalind. Come, sister, will you go? [Exeunt, .-SeSNE III. The forest. Enter TOUCHSTONE and AUDREY ; JAQUES behind. Touch, Gome apace, good Audrey: I will fetch up your /' goiiis, Audrey. And how, Audrey ? am I the man yet ? /

ACT III. SCENE III. 47 ^ud. Your features! Lord warrant us! what features? ■*ot/ri6. I am here with thee and thy goats, as the most ^^Jticious poet, honest Ovid, was among the Goths. *^«9. [Aside\ O knowledge ill-inhabited, worse than Jove ^^ a thatched house ! 8 ^ouch. When a man's verses cannot be understood, nor a l^n's good wit seconded with the forward child Understanding, it strikes a man more dead than a great reckoning in a little room. Truly, I would the gods had made thee poetical. Jud, I do not know what * poetical* is: is it honest in deed and word? is it a true thing? Touch, No, truly ; for the truest poetry is the most feigning; and lovers are given to poetry, and what they swear in poetry may be said as lovers they do feign. 17 jiud. Do you wish then that the gods had made me poetical ? Touch, I do, truly; for thou swearest to me thou art honest : now, if thou wert a poet, I might have some hope thou didst feign. Aud, Would you not have me honest? Touch, No, truly, unless thou wert hard-favoured; for honesty coupled to beauty is to have honey a sauce to sugar. Jaq. [Aside] A material fool! Aud, Well, I am not fair; and therefore I pray the gods make me honest. Touch, Truly, and to cast away honesty upon a foul slut were to put good meat into an unclean dish. 30 Aud, I am not a slut, though I thank the gods I am foul. Touch, Well, praised be the gods for thy foulness! sluttishness may come hereafter. But be it as it may be, I will marry thee, and to that end I have been with Sir Oliver Martext, the vicar of the next village, who hath promised to meet me in this place of the forest and to couple us. Jaq, [Aside] I would fain see this meeting. ^u^. Well, the gods give us joy I •>>'^ /.it

48 AS rOU LIKE IT. Touch, Amen. A man miay, if he were of a 'fearful heart, stagger in this attempt ; for here we have no temple but the wood, no assembly but horn-beasts. But what though? Courage! As horns are odious, they are necessary. It is said, * many a man knows no end of his goods:' right; many a man has good horns, and knows no end of them. Well, that is the dowry of his wife; 'tis none of his own getting. Horns? Even so. Poor men alone? No, no; the noblest deer hath them as huge as the rascaL Is the single man therefore blessed? No: as a walled town is more worthier than a village, so is the forehead of a married man more honourable than the bare brow of a bachelor; and by how much defence is better than no skill, by so much is a horn . more precious than to want. Here comes iSir Oliver. 52 Enter Sir Oliver Martext. Sir Oliver Martext, you are well met: will you di^atch us here under this tree, or shall we go with you to your chapel ? Sir OIL Is there none here to give the woman? Touch, I will not take her on gift of any man. Sir OH, Truly, she must be given, or the marriage is not lawful. Jaq* [Advancing] Proceed, proceed: Til give her. 59 Touch, Good even, good Master What-ye^call't : how do you, sir ? You are very well met : God *ild you for your last company : I am very glad to see you : even a toy in hand - • here, sir : nay, pray be covered. Jaq. Will you be married, motley? Touch, As the ox hath his bow, sir, the horse his curb and the falcon her bells, so man hath his desires ; and as pigeons bill, so wedlock would be nibbling. Jaq. And will you, being a man of your breeding, be married under a bush like a beggar ? Get you to church, and have a good priest that can tell you what marriage is : this fellow will but join you together as they join wainscot ; then one of you will prove a shrunk pauel and, like green tiinber, warp, warp, *\\

, ACT III. SCENE IV. 49 ToucJb, [jissdel I am not in the mind but I were better to be married of him than of another : for he is not like to marry me well; and not being well married, it will be a good excuse for me hereafter to leave my wife. Jag, Go thou with me, and let me coimsel thee. ToucJb, Come, sweet Audrey: Farewell, good Master Oliver: not, — 80 O sweet Oliver, O brave Oliver, Leave me not behind thee: but,— Wind away. Begone, I say, I will not to wedding with thee. [Exeunt JaqueSy Touchstone and Audrey, Sir OIL 'Tis no matter : ne'er a fantastical knave of them all shall flout me out of my calling. [Exit, Scene IV. The forest. Enter ROSALIND and Celia. Ros, Never talk to me; I will weep. Cel. Do, I prithee; but yet have the grace to consider that tears do not become a man. Ros, But have I not cause to weep? CeL As good cause as one would desire ; therefore weep. Ros, His very hair is of the dissembling colour. Cel, Something browner than Judas's: marry, his kisses are Judas's own children. Ros, V faith, his hair is of a good colour. Cel, An excellent colour: your chestnut was ever the only colour. 11 Ros, And his kissing is as full of sanctity as the touch of holy bread. Cel, He hath bought a pair of cast Wps oi \^\a:aaL\ "a^ xs»s\. E

50 AS rOU UKE IT. of winter's sisterhood kisses not more religiously: the ice of chastity is m them. Ru, But why did he swear he would come this moi and comes not ? CeL Nay, certainly, there is no truth in him. Roj, Do you think so? CeL Yes; I think he is not a pick-purse nor a b stealer, but for his verity in love, I do think him as coi as a covered goblet or a worm-eaten nut. Roj» Not true in love? CeL Yes, when he is in; but I think he is not in. Ros. You have heard him swear downright he was. CeL * Was ' is not ' is ' : besides, the oath of a lover stronger than the word of a tapster; they are botl confirmer of false reckonings. He attends here in the \ on the duke your father. Ros, I met the duke yesterday and had much qu< with him : he asked me of what parentage I was ; I told of as good as he; so he laughed and let me go. But talk we of fathers, when there is such a man as Orlando I CeL O, that *s a brave man ! he writes brave verses, s brave words, swears brave oaths and breaks them br; quite traverse, athwart the heart of his lover; as a p tilter, that spurs his horse but on one side, breaks his like a noble goose: but all's brave that youth mount folly guides. Who comes here? Enter CORIN. Cor. Mistress and master, you have oft enquired After the shepherd that complain'd of love. Who you saw sitting by me on the turf. Praising the proud disdainful shepherdess That was his mistress. CeL Well, and what of him ? Cor, If you will see a pageant truly play'd, Between the pale complexion of true love And the red glow of scorn and proxxd d\sd

ACT III. SCENE V. 5 1 Go hence a little and I shall conduct you, If you will mark it. Roj, O, come, let us remove: 50 The sight of lovers feedeth those in love. Bring us to this sight, and you shall say I'll prove a busy actor in their play. {Exeunt. Scene V. Another part of the forest. Enter SiLVIUS and Phebe. 5/7. Sweet Phebe, do not scorn me; do not, Phebe; Say that you love me not, but say not so In bitterness. The common executioner. Whose heart the accustomed sight of death makes bard. Falls not the axe upon the humbled neck But first begs pardon: will you sterner be Than he that dies and lives by bloody drops? Enter ROSALIND, Celia, and CoRiN, behind. Phe. I would not be thy executioner: I fly thee, for I would not injure thee. Thou teirst me there is murder in mine eye: 10 ^ 'Tis pretty, sure, and very probable, That eyes, that are the frail'st and softest things, ^ Who shut their coward gates on atomies, Should be call'd tyrants, butchers, murderers! Now I do frown on thee with all my heart; And if mine eyes can wound, now let them kill thee : Now counterfeit to swoon ; why now fall down ; /V Or if thou canst not, O, for shame, for shame, ' Lie not, to say mine eyes are murderers! ; . Now show the wound mine eye hath made in thee: 20 Scratch thee but with a pin, and there remains Some scar of it; lean but upon a rush. The cicatrice and capable impressure ' ■ '^i Thy palm some moment keeps; but now mine eyes. Which I have darted at thee, hurt thee not^ V

52 AS roa like it. Nor, I am sure, there is no force in eyes That can do hurt. SiL O dear Phebe, If ever, — as that ever may be near, — You meet in some fresh cheek the power of fancy. Then, shall you know the wounds invisible 30 That love's keen arrows make. Pbe. But till that time Come not thou near me : and when that time comes, Afl^ict me with thy mocks, pity me not; As till that time I shall not pity thee. Ros. And why, I pray you ? Who might be your mother. That you insult, exult, and all at once. Over the wretched? What though you have no beauty, — As, by my faith, I see no more in you Than without candle may go dark to bed — Must you be therefore proud and pitiless? 40 Why, what means this? Why do you look on me? I see no more in you than in the ordinary Of nature's sale-work. 'Od's my little life, I think she means to tangle my eyes too! No, faith, proud mistress, hope not after it: 'Tis not your inky brows, your black silk hair, Your bugle eyeballs, nor your cheek of cream, That can entame my spirits to your worship. You foolish shepherd, wherefore do you follow her. Like foggy south puffing with wind and rain ? 50 You are a thousand times a properer man Than she a woman: 'tis such fools as you That makes the world full of ill-favour'd children : 'Tis not her glass, but you, that flatters her; And out of you she sees herself more proper Than any of her lineaments can show her. But, mistress, know yourself: down on your knees. And thank heaven, fasting, for a good man's love: For I must tell you friendly in your ear. Sell when you can: you are not for all markets: 6a

ACT III. SCENE r. 53 Cry the man mercy; love him; take his offer: Foul is most foul, being foul to be a scoffer. So take her to thee, shepherd: fare you well. Phe, Sweet youth, I pray you, chide a year together: I had rather hear you chide than this man woo. Ros. He 's fallen in love with your foulness and she'll fall in love with my anger. If it be so, as fast as she answers thee with frowning looks, Til sauce her with bitter words. Why look you so upon me ? Phe. For no ill will I bear you. 70 Ros. I pray you, do not fall in love with me, For I am falser than vows made in wine : Besides, I like you not. If you will know my house, 'Tis at the tuft of olives here hard by. Will you go, sister? Shepherd, ply her hard. Come, sister. Shepherdess, look on him better. And be not proud: though all the world could see. None could be so abused in sight as he. . :r .'..,. *>< Come, to our flock. [Exeunt Rosalind^ delta and Corin. Phe. Dead shepherd, now I find thy saw of might, 80 *Who ever loved that loved not at first sight?' Sil. Sweet Phebe,— Phe. Ha, what say'st thou, Silvius? Sil. Sweet Phebe, pity me. Phe. Why, I am sorry for thee, gentle Silvius. Sil. Wherever sorrow is, relief would be: If you do sorrow at my grief in love. By giving love your sorrow and my grief Were both extermined. Phe. Thou hast my love : is not that neighbourly ? 5/7. I would have you. Phe. Why, that were covetousness. 90 Silvius, the time was that I hated thee, Arid yet it is not that I bear thee love; But since that thou canst talk of love so "vi^^)

54 -45 YOU LIKE IT, Thy company, which erst was irksome to me, I will endure, and 1*11 employ thee too: But do not look for further recompense Than thine own gladness that thou art employed. SiL So holy and so perfect is my love. And I in such a poverty of grace, That I shall think it a most plenteous crop loo To glean the broken ears after the man That the main harvest reaps: loose now and then -^i-'^ A — , A scattered smile, and that I'll live upon. Phe, Know'st thou the youth that spoke to me erewhile ? SiL Not very well, but I have met him oft; And he hath bought the cottage and the bounds / That the old carlot once was master of. Phe. Think not I love him, though I ask for him; *Tis but a peevish boy; yet he talks well; ' But what care I for words? yet words do well no When he that speaks them pleases those that hear. It is a pretty youth : not very pretty : But, sure, he*s proud, and yet his pride becomes him: He'll make a proper man: the best thing in him Is his complexion; and faster than his tongue Did make oflFence his eye did heal it up. He is not very tall; yet for his years he's tall: His leg is but so so; and yet 'tis well: There was a pretty redness in his lip, ^ A little riper and more lusty red 120 Than that mix'd in his cheek ; 'twas just the difference Betwixt the constant red and^^mingled damask. There be some women, Silvius, had they mark'd him In' parcels as I did, would have gone near To fall in love with him : but, for my part, , I love him not nor hate him not; and yet . !) I have more cause to hate him than to love him: / , I For what had he to do to chide at me? /f-"^

ACT IV. SCENE I. 55 ^ marvel why I answered not again : ^iit that *s all one ; omittance is no quittance. **fl write to him a very taunting letter, ^nd thou shalt bear it : wilt thou, Silvius ? •&y. Phebe, with all my heart. ^Ae. ril write it straight ; ^^e matter's in my head and in my heart: ' ^ill be bitter with him and passing short. ^ with me, Silvius. [Exeunt. ACT IV. 9 Scene I. The forest. Enter ROSALIND, Celia, and JAQUES. Jaq, I prithee, pretty youth, let me be better acquainted ^th thee. Ros, They say you are a melancholy fellow. Jaq. I am so; I do love it better than laughing. Ros. Those that are in extremity of either are abominable Hows and betray themselves to every modem censure worse han drunkards. Jaq. Why, 'tis good to be sad and say nothing. Ros. Why then, 'tis good to be a post. 9 Jaq. I have neither the scholar's melancholy, which is emulation; nor the musician's, which is fantastical; nor the courtier's, which is proud; nor the soldier's, which is ambitious; nor the lawyer's, which is politic; nor the lady's, which is nice ; nor the lover's, which is all these : but it is a melancholy of mine own, compounded of many simples, extracted from many objects, and indeed the sundry contemplation of my travels, in which my often rumination wraps me in a most humorous sadness.

56 AS rOU LIKE IT. Roj. A traveller! By my faith, you have great reason to be sad : I fear you have sold your own lands to see other men's ; then, to have seen much and to have nothing, is to have rich eyes and poor hands. 22 Jaq, Yes, I have gained my experience. Roj. And your experience makes you sad: I had rather have a fool to make me merry than experience to make me sad ; and to travel for it too ! Enter ORLANDO. OH. Good day and happiness, dear Rosalind! Jaq, Nay, then God be v^^i* you, an you talk in blank verse. [Exit, Roj. Farewell, Monsieur Traveller: look you lisp and /.//:/. > wear strange suits, disable all the benefits of your own country, be out of love with your nativity and almost chide God for making you that countenance you are, or I will scarce think you have swam in a gondola. Why, how now, Orlando ! where have you been all this while ? You a lover ! An you serve me such another trick, never come in, my sight more. 37 Orl. My fair Rosalind, I come within an hour of my promise. Roj. Break an hour's promise in love ! He that will divide a minute into a thousand parts and break but a part of the thousandth part of a minute in the affairs of love, it may be said of him that Cupid hath clapped him o' the shoulder, but rU warrant him heart-whole. 44 OrL Pardon me, dear Rosalind. Roj. Nay, an you be so tardy, come no more in my sight : I had as lief be wooed of a snail. OrL Of a snail ? Roj. Ay, of a snail ; for though he comes slowly, he carries his house on his head; a better jointure, I think, than you make a woman : besides he brings his destiny with him. 51 Or/. What's that?

ACT IV. SCENE I. 57 Jtos, Why, horns, which such as you are fain to be beholding to your wives for : but he comes armed in his fortune ind prevents the slander of his wife. OrL Virtue is no horn-maker; and my Rosalind is ^'rtiious. -I^oj. And I am your Rosalind. O/. It pleases him to call you so ; but he hath a Rosalind ^^ a better leer than you. • . .. v - : , 60 Moj, Come, woo me, woo me, for now I am in a holiday ^^xnour and like enough to consent. What would you say to ^^>-ie now, an I were your very very Rosalind ? Or/. I would kiss before I spoke. J(d4. Nay, you were better speak first, and when you ^'^^^re gravelled for lack of matter, you might take occasion to ^^^. Very good orators, when they are out, they will spit; ^-^»>.d for lovers lacking — God warn us ! — matter, the cleanliest ^^*^ift is to kiss. Ori. How if the kiss be denied ? 70 Ros, Then she puts you to entreaty, and there begins matter. OrL Who could be out, being before his beloved mistress ? Roj. Marry, that should you, if I were your mistress, or should think my honesty ranker than my wit. OrL What, of my suit? Ros. Not out of your apparel, and yet out of your suit, m not I your Rosalind? OrL I take some joy to say you are, because I would be -alking of her. 80 Roj. Well in her person I say I will not have you. OrL Then in mine own person I die. Roj. No, faith, die by attorney. The poor world is almost six thousand years old, and in all this time there was not any man died in his own person ; videlicet, in a love-cause. Troilus had his brains dashed out with a Grecian club; yet he did ^ what be could to die before, and lie is one oi \Xie ^^\Xerc»& q»^

58 AS rOU LIKE IT. love. Leander, he would have lived many a fair year, though Hero had turned nun, if it had not been for a hot midsummer night ; for, good youth, he went but forth to wash him in the Hellespont and being taken with the cramp was drowned : and the foolish chroniclers of that age found it was * Hero of Sestos.' But these are all lies : men have died from time to time and worms have eaten them, but not for love. OrL I would not have my right Rosalind of this mind, for, I protest, her frown might kill me. 96 Roj, By this hand, it will not kill a fly. But come, now I will be your Rosalind in a more coming-on disposition, and ask me what you will, I will grant it. ^OrL Then love me, Rosalind. 100 Roj. Yes, faith, will I, Fridays and Saturdays and all. OrL And wilt thou have me? Ros. Ay, and twenty such. OrL What sayest thou? Ros. Are you not good? OrL I hope so. Ros. Why then, can one desire too much of a good thing ? Come, sister, you shall be the priest and marry us. Give me your hand, Orlando. What do you say, sister ? OrL Pray thee, marry us. no CeL I cannot say the words. Ros. You must begin, *Will you, Orlando—' CeL Go to. Will you, Orlando, have to wife this Rosalind? OrL I will. Ros. Ay, but when? OrL Why now; as fast as she can marry us. Ros. Then you must say ' I take thee, Rosalind, for wife.' OrL I take thee, Rosalind, for wife. Ros. I might ask you for your commission ; but I do take thee, Orlando, for my husband ; there 's a girl goes before the priest; and certainly a woman's thought runs before her actions, ^'^'^

ACT IV. SCENE I. 59 Orl. So do all thoughts; they are winged. Roj, Now tell me how long you would have her after you have possessed her. Orl. For ever and a day. Ros. Say ' a day/ without the ' ever.' ' No, no, Orlando ; men are April when they woo, December when they wed: maids are May when they are maids, but the sky changes when they are wives. I will be more jealous of thee than a '^ Barbary cock-pigeon over his hen, more clamorous than a parrot against rain, more new-fangled than an ape, more giddy in my desires than a monkey : I will weep for nothing, like Diana in the fountain, and I will do that when you are ' disposed to be merry ; I will laugh like a hyen, and that when thou art inclined to sleep. 136 Orl. But will my Rosalind do so? Roj. By my life, she will do as I do. Orl. O, but she is wise. Ros. Or else she could not have the wit to do this: the wiser, the waywarder : make the doors upon a woman's wit and it will out at the casement ; shut that and 'twill out at the key-hole ; stop that, 'twill fly with the smoke out at the chimney. 144 Orl. A man that had a wife with such a wit, he might say 'Wit, whither wilt?' Ros, Nay, you might keep that check for it till you met your wife's wit going to your neighbour's bed. Orl. And what wit could wit have to excuse that? Roj. Marry, to say she came to seek you there. You shall never take her without her answer, unless you take her without her tongue. O, that woman that cannot make her fault her husband's occasion, let her never nurse her child herself, for she will breed it like a fool ! 154 Orl. For these two hours, Rosalind, I will leave thee. Roj. Alas! dear love, I cannot lack thee two hours. Orl. I must attend the duke at dinner; b^ t^Q cJOsaO*. / will be with thee again.

6o AS rOU LIKE IT. Roj, Ay, go your ways, go your ways ; I knew what you would prove : my friends told me as much, and I thought no less : that flattering tongue of yours won me : 'tis but one cast away, and so, come, death ! Two o'clock is your hour ? OrL Ay, sweet Rosalind. 163 Ros, By my troth, and in good earnest, and so God mend me, and by all pretty oaths that are not dangerous, if you break one jot of your promise or come one minute behind your hour, I will think you the most pathetical break-promise and the most hollow lover and the most unworthy of her you call Rosalind that may be chosen out of the gross band of the unfaithful : therefore beware my censure and keep your promise. 171 Orl. With no less religion than if thou wert indeed my Rosalind: so adieu. Ros, Well, Time is the old justice that examines all such offenders, and let Time try : adieu. [Exit Orlando. CeL You have simply misused our sex in your love-prate : we must have your doublet apd hose plucked over your head, and show the world what the bird hath done to her own nest. Roj, O coz, coz, coz, my pretty little coz, that thou didst know how many fathom deep I am in love ! But it cannot be sounded : my affection hath an unknown bottom, like the bay of Portugal. 183 CeL Or rather, bottomless, that as fast as you pour affection in, it runs out. Ros. No, that same wicked bastai*d of Venus that was begot of thought, conceived of spleen and bom of madness, that blind rascally boy that abuses every one's eyes because his own are out, let him be judge how deep I am in love. I'll tell thee, Aliena, I cannot be out of the sight of Orlando : rU go find a shadow and sigh till he come. 191 Cel. And I'll sleep. [Exeunt.

ACT IV. SCENE III. 6 1 Scene II. The Jorest. Enter Jaques, Lords, and Foresters. Jaq. Which is he that killed the deer? A Lord. Sir, it was I. Jaq. Let 's present him to the duke, like a Roman conqueror ; and it would do well to set the deer's horns upon his head, for a branch of victory. Have you no song, forester, for this purpose ? For, Yes, sir. Jaq. Sing it : 'tis no matter how it be in tune, so it make noise enough. Song. For. What shall he have that kill'd the deer? lo His leather skin and horns to wear. Then sing him home; [T3&^ rest shall bear this burden. Take thou no scorn to wear the horn; It was a crest ere thou wast bom: Thy father's father wore it. And thy father bore it: The horn, the horn, the lusty horn Is not a thing to laugh to scorn. [Exeunt. Scene III. The forest. Enter ROSALIND and Gelia. Ros. How say you now? Is it not past two o'clock ? and here much Orlando! Cel. I warrant you, with pure love and troubled brain, he hath ta'en his bow and arrows and is gone forth to sleep. Look, who comes here. Enter SiLVIUS. Sil. My errand is to you, fair youth; My gentle Phebe bid me give you this:

62 AS rOU LIKE IT. I know not the contents; but, as I guess By the stem brow and waspish, action Which she did use as she was writing of it, It bears an angry tenour: pardon me; I am but as a guiltless messenger. Roj. Patience herself would startle at this letter And play the swaggerer; bear this, bear all; She says I am not fair, that I lack manners; She calls me proud, and that she could not love me. Were man as rare as phoenix. 'Ods my will! Her love is not the hare that I do hunt: Why writes she so to me? Well, shepherd, well, This is a letter of your own device. 5/7. No, I protest, I know not the contents: Phebe did write it. Roj, Come, come, you are a fool And turned into the extremity of love. I saw her hand ; she has a leathern hand, A freestone-colour'd hand : I verily did think That her old gloves were on, but 'twas her hands: She has a huswife's hand; but that's no matter: I say she never did invent this letter: This is a man's invention and his hand. Sil. Sure, it is hers. Ros, Why, 'tis a boisterous and a cruel style, A style for challengers; why, she defies me. Like Turk to Christian: women's gentle brain Could not drop forth such giant-rude invention, Such Ethiope words, blacker in their effect Than in their countenance. Will you hear the lette 5/7. So please you, for I never heard it yet; Yet heard too much of Phebe's cruelty. Roj. She Phebes me: mark how the tyrant write: [Reads] Art thou god to shepherd tum'd, That a maiden's heart hath burn'd? Can a woman rail thus? S//, Call you this railing?

ACT IV. SCENE III. 6^ Roi. [Reads\ Why, thy godhead laid apart, Warr'st thou with a woman's heart? ■^'d you ever hear such railing? Whiles the eye of man did woo me, That could do no vengeance to me. leaning me a beast. If the scorn of your bright eyne 50 Have power to raise such love in mine, Alack, in mp what strange effect Would they work in mild aspect! Whiles you chid me, I did love; How then might your prayers move ! He that brings this love to thee Little knows this love in me: And by him seal up thy mind; Whether that thy youth and kind Will the faithful offer take 60 Of me and all that I can make : Or else by him my love deny. And then I *11 study how to die. •^'/. Call you this chiding? ^W. Alas, poor shepherd! I "^oj. Do you pity him ? no, he deserves no pity. Wilt thou j^^^^ such a woman ? What, to make thee an instrument and *^y false strains upon thee ! not to be endured ! Well, go ^Ur way to her, for I see love hath made thee a tame snake, ^^ say this to her : that if she love me, I charge her to love *^^^ ; if she will not, I will never have her unless thou entreat ^^ her. If you be a true lover, hence, and not a word ; for ^^e comes more company. [Exit Silvius. Enter Oliver. O/i. Good morrow, fair ones : pray you, if you know, ^Ixere in the purlieus of this forest stands 75 ■^ sheep-cote fenced about with olive trees? Qel, West of this place, down in the neighbour bottom : ^be rank of osiers by the murmuring slre^m

64 -4^ YOV LIKE IT. Left on your right hand brings you to the place. But at this hour the house doth keep itself; There's none within. Ol'u If that an eye may profit by a tongue, Then should I know you by description ; Such garments and such years: *The boy is fair, Of female favour, and bestows himself Like a ripe sister: the woman low And browner than her brother.' Are not you The owner of the house I did enquire for? Cel, It is no boast, being ask'd, to say we are. Ol'u Orlando doth commend him to you both, 90 And to that youth he calls his Rosalind He sends this bloody napkin. Are you he? Kos. I am: what must we understand by this? Oli, Some of my shame ; if you will know of me What man I am, and how, and why, and where This handkercher was stain'd. Cel, I pray you, tell it. Ol'u When last the young Orlando parted from you He left a promise to return again Within an hour, and pacing through the forest. Chewing the food of sweet and bitter fancy, 100 Lo, what befell he threw his eye aside. And mark what object did present itself: Under an oak, whose boughs were moss'd with age And high top bald with dry antiquity, A wretched ragged man, o'ergrown with hair. Lay sleeping on his back: about his neck A green and gilded snake had wreathed itself, no Who with her head nimble in threats approach'd The opening of his mouth; but suddenly. Seeing Orlando, it unlinked itself. And with indented glides did slip away Into a bush: under which bush's shade A lioness, with udders all drawn dry, ' Lay couching, head on ground, with catlike watch,

ACT IV. SCENE III. 65 When that the sleeping man should stir; for 'tis The royal disposition of that beast To prey on nothing that doth seem as dead: This seen, Orlando did approach the man And found it was his brother, his elder brother. CeL O, I have heard him speak of that same brother; And he did render him the most unnatural y^ / . . / . 121 That lived amongst men. OIL And well he might so do, For well I know he was unnatural. Roj. But, to Orlando: did he leave him there. Food to the suck*d and hungry lioness? OIL Twice did he turn his back and purposed so; But kindness, nobler ever than revenge,. And nature, stronger than his just occasion, Made him give battle to the lioness. Who quickly fell before him: in which hurtling 130 From miserable slumber I awaked. CeL Are you his brother? Roj. Was*t you he rescued? CeL Was*t you that did so oft contrive to kill him? OIL *Twas I ; but *tis not I : I do not shame To tell you what I was, since my conversion So sweetly tastes, being the thing I am. Ros. But, for the bloody napkin ? OIL By and by. When from the first to last betwixt us two Tears our recountments had most kindly bathed, As how I came into that desert place: — 140 In brief, he led me to the gentle duke. Who gave me fresh array and entertainment. Committing me unto my brother's love; Who led me instantly unto his cave, There stripp'd himself, and here upon his arm The lioness had torn some flesh away, Which all this while had bled ; and now bi^ fait^^

66 AS YOU LIKE IT. And cried, in fainting, upon Rosalind. Brief, I recover'd him, bound up his wound; And, after some small space, being strong at heart, i^ He sent me hither, stranger as I am. To tell this story, that you might excuse His broken promise, and to give this napkin Dyed in his blood unto the shepherd youth That he in sport doth call his Rosalind. [Rosalind scivoon^ CeL Why, how now, Ganymede ! sweet Ganymede ! OIL Many will swoon when they do look on blood. del. There is more in it. Cousin-Ganymede! OIL Look, he recovers. Roj. I would I were at home. Cel. We'll lead you thither. I pray you, will you take him by the arm? i6r OIL Be of good cheer, youth : you a man ! you lack a man's heart. Ros, I do so, I confess it. Ah, sirrah, a body would think this was well counterfeited ! I pray you, tell your brother how well I counterfeited. Heigh-ho! OIL This was not counterfeit : there is too great testimony in your complexion that it was a passion of earnest. Roj. Counterfeit, I assure you. OIL Well then, take a good heart and counterfeit to be a man. 171 Ros, So I do : but, i* faith, I should have been a woman by right. Cel, Come, you look paler and paler: pray you, draw homewards. Good sir, go with us. OIL That will I, for I must bear answer back How you excuse my brother, Rosalind. Ros, I shall devise something : but, I pray you, commend my counterfeiting to him. Will you go ? [Exeunt,

ACT r. SCENE I 67 ACT V. Scene I. The forest. Enter TOUCHSTONE and AUDREY. ^^^cb. We shall find a time, Audrey; patience, gentle Audrey. "^ud. Faith, the priest was good enough, for all the old gentleman's saying. ^ ^^^*cb, A most wicked Sir Oliver, Audrey, a most vile «iart:ext. But, Audrey, there is a youth here in the forest ^Xs claim ta you. -^rid. Ay, I know who *tis ; he hath no interest in me in ^ 'World: here comes the man you mean. 9 ~*oafi&. It is meat and drink to me to see a clown : by my ^^t^^ we that have good wits have much to answer for ; we ^ ^ll be flouting; we cannot hold. Enter WiLLIAM. '///. Good even, Audrey. W. God ye good even, William. 7//. And good even to you, sir. ^^^

68 AS rOU LIKE IT. Will, Ay, sir, I have a pretty wit. ^^ Touch, Why, thou sayest well. I do now remembeiT ^ saying, *The fool doth think he is wise, but the wise mai^ knows himself to be a fool.* The heathen philosopher, when he had a desire to eat a grape, would open his lips when he put it into his mouth ; meaning thereby that grapes were made to eat and lips to open. You do love this maid ? mil. I do, sir. Touch. Give me your hand. Art thou learned? Will. No, sir. 37 Touch. Then learn this of me : to have, is to have ; for it is a figure in rhetoric that drink, being poured out of a cup into a glass, by filling the one doth empty the other ; for all your writers do consent that ipse is he : now, you are not ipse, for I am he. Will. Which he, sir? Touch. He, sir, that must marry this woman. Therefore, you clown, abandon, — ^which is in the vulgar leave, — the society, — which in the boorish is company, — of this female, — which in the common is woman ; which together is, abandon the society of this female, or, clown, thou perishest ; or, to thy better understanding, diest ; or, to wit, I kill thee, make thee away, translate thy life into death, thy liberty into bondage : I will deal in poison with thee, or in bastinado, or in steel ; I will bandy with thee in faction ; I will o'er-run thee with policy ; I will kill thee a hundred and fifty ways : therefore tremble, and depart. 54 Aud. Do, good William. Wtll. God rest you merry, sir. [Exit, Enter GORIN. Cor, Our master and mistress seeks you; come, away, away! Touch, Trip, Audrey! trip, Audrey! I attend, I attend. \Exeunt,

ACT V. SCENE II. 69 Scene II. The forest. Enter ORLANDO and OLIVER. Or^J, Is 't possible that on so little acquaintance you should ^^s her? that but seeing you should love her? and loving woo ? and, wooing, she should grant ? and will you persever to enjoy her ? O/i. Neither call the giddiness of it in question, the poverty of her, the small acquaintance, my sudden wooing, ^or her sudden consenting ; but say with me, I love Aliena ; ^y V^ith her that she loves me ; consent with both that we ™*y enjoy each other: it shall be to your good; for my fatlx^r's house and all the revenue that was old Sir Rowland's ^^^^ 1 estate upon you, and here live and die a shepherd. 1 1 ^W. You have my consent. Let your wedding be to™^i'^x)w: thither will I invite the duke and all's contented follo^gfs^ Go you and prepare Aliena; for look you, here ^^*^es my Rosalind. Enter ROSALIND. -^oj. God save you, brother. ^^Ji. And you, fair sister. [Exit, -J^, O, my dear Orlando, how it grieves me to see thee ^^^r thy heart in a scarf! Or/. It is my arm. 20 -l^ftf . I thought thy heart had been wounded with the claws of a lion. Or/. Wounded it is, but with the eyes of a lady. Itoj. Did your brother tell you how I counterfeited to s^oon when he showed me your handkercher? Or/. Ay, and greater wonders than that, lA v.- ^* ^9 ^ know where you are : nay, 'tis true : there was ttever any thing so sudden but the fight of two rams and Caesar's thrasonical brag of * I came, saw, and overcarnfe' \ ^*^^ yow brother and my sister no sooner met W\. >i}CiK^ VicJ^^^^^^ ^ ^ W

*]0 AS rOU LIKE IT. sooner looked but they loved, no sooner loved but they sighed, no sooner sighed but they asked one another the reason, no sooner knew the reason but they sought the remedy ; and in these degrees have they made a pair of stairs to marriage which they will climb incontinent : they are in the very wrath -''>^ of love and they will together; clubs cannot part them. 36 Orl. They shall be married to-morrow, and I will bid the duke to the nuptial. But, O, how bitter a thing it is to look into happiness through another man's eyes ! By so much the more shall I to-morrow be at the height of heart-heaviness, by how much I shall think my brother happy in having what he wishes for. Ros, Why then, to-morrow I cannot serve your turn for Rosalind ? Orl, I can live no longer by thinking. 45 Ros» I will weary you then no longer with idle talking. Know of me then, for now I speak to some purpose, that I know you are a gentleman of good conceit : I speak not this that you should bear a good opinion of my knowledge, insomuch I say I know you are; neither do I labour for a greater esteem than may in some little measure draw a belief . from you, to do yourself good and not to grace me. Believe then, if you please, that I can do strange things : I have, since I was three year old, conversed with a magician, most profound in his art and yet not damnable. If you do love ^ Rosalind so near the heart as your gesture cries it out, when ' your brother marries Aliena, shall you marry her : I know into what straits of fortune she is driven ; and it is not impossible to me, if it appear not inconvenient to you, to set her before your eyes to-morrow human as she is and without any danger. 6 1 Orl. Speakest thou in sober meanings? Ros. By my life, I do ; which I tender dearly, though I say I am a magician. Therefore, put you in your best array ; bid your friends ; for if you will be married to-morrow, you shall, and to Rosalind, if you will.

ACT V. SCENE 11. 7 1 Enter SILVIUS and Phebe. Look, here comes a lover of mine and a lover of hers. Phe. Youth, you have done me much ungentleness, To shew the letter that I writ to you. Ros, I care not if I have: it is my study 70 To seem despiteful and ungentle to you : You are there followed by a faithful shepherd; Look upon him, love him; he worships you. Phe. Good shepherd, tell this youth what 'tis to love. Sil, It is to be all made of sighs and tears ; And so am I for Phebe. Phe, And I for Ganymede. Orl, And I for Rosalind. Kos, And I for no woman. 5//. It is to be all made of faith and service; 80 A.iid so am I for Phebe. Pbe, And I for Ganymede. OrU And I for Rosalind. Kos, And I for no woman. SiU It is to be all made of fantasy, -^Vll made of passion and all made of wishes, AJl adoration, duty, and observance. All humbleness, all patience and impatience, All purity, all trial, all observance; And so am I for Phebe. 90 Pbe, And so am I for Ganymede. QrU And so am I for Rosalind. -Roj. And so am I for no woman. Pbe. If this be so, why blame you me to love you ? 5i7. If this be so, why blame you me to love you ? OrU If this be so, why blame you me to love you ? 'Bjos, Why do you speak too, * Why blame you me to love you?' OrJ, To her that is not here, not do^ xio\.>Kax. ^^

7Z AS rOV LIKE IT. Roj. Pray you, no more of this; 'tis like the howling c^^ Irish wolves against the moon. [To SiL] I will help you, if -3 can: [To Phe.l I would love you, if I could. To-morrow mee'^ me all together. \To Phe,'\ I will marry you, if ever I marr^^ woman, and I '11 be married to-morrow : [To Orl,"] I will satisf>^ you, if ever I satisfied man, and you ^11 be married to — morrow : [To SiL] I will content you, if what pleases yovm contents you, and you shall be married to-morrow. [To Orl,'^ As you love Rosalind, meet: [To SiL] as you love Phebe, meet : and as I love no woman, I 'U meet. So fare you well : I have left you commands. no r SiL I '11 not fail, if I live. Pbe. Nor I. OrL Nor I. [Exeunt, " Scene III. The forest. Enter TOUCHSTONE and AUDREY. Touch. To-morrow is the joyful day, Audrey ; to-morrow will we be married. Aud. I do desire it with all my heart; and I hope it is //o.no dishonest desire to desire to be a woman of the world. Here come two of the banished duke's pages. Enter tivo Pages. First Page. Well met, honest gentleman. Touch. By my troth, well met. Come, sit, sit, and a song. Sec. Page. We are for you: sit i' the middle. 9 First Page. Shall we clap into 't roundly, without hawking or spitting or saying we are hoarse, which are the only prologues to a bad voice ? Sec. Page. V faith, i' faith ; and both in a tune, like two gipsies on a horse. .€.,«.. »

ACT V. SCENE IV. 73 Song. It was a lover and his lass, With a hey, and a ho, and a hey nonino. That o*er the green corn-field did pass In the spring time, the only pretty ring time, When birds do sing, hey ding a ding, ding: Sweet lovers love the spring. 20 Between the acres of the rye. With a hey, and a ho, and a hey nonino. These pretty country folks would lie. In spring time, &c. This carol they began that hour. With a hey, and a ho, and a hey nonino. How that a life was but a flower In spring time, &c. And therefore take the present time, With a hey, and a ho, and a hey nonino; 30 For love is crowned with the prime In spring time, &c. Touch, Truly, young gentlemen, though there was no great matter in the ditty, yet the note was very untuneable. First Page, You are deceived, sir : we kept time, we lost not our time. Touc/f, By my troth, yes ; I count it but time lost to hear such a foolish song. God be wi* you ; and God mend your voices! -Gome, Audrey. [Exeunt, Scene IV. The forest. Enter DuKE senior, Amiens, Jaques, Orlando, Oliver, and Gelia. Duke S. Dost thou believe, Orlando, that the boy Can do all this that he hath promised? Orl, I sometimes do believe, and sometimes do not ; As those that fear they hope, and know they fear.

74 ^S you LIKE IT. Enter ROSALIND, SiLVIUS, and Phebe. Ros. Patience once more, whiles our compact is urged: You say, if I bring in your Rosalind, You will bestow her on Orlando here? Buke S. That would I, had I kingdoms to give with her. Ros, And you say, you will have her, when I bring her ? Ori, That would I, were I of all kingdoms king. lo Roj, You say, you'll marry me, if I be willing? Pbe, That will I, should I die the hour after. Roj, But if you do refuse to marry me. You '11 give yourself to this most faithful shepherd ? Pbe. So is the bargain. Ros, You say, that you '11 have Phebe, if she will ? 5/7. Though to have her and death were both one thing. Ros, I have promised to make all this matter even. Keep you your word, O duke, to give your daughter; You yours, Orlando, to receive his daughter: 20 Keep your word, Phebe, that you'll marry me. Or else refusing me, to wed this shepherd: Keep your word, Silvius, that you'll marry her, If she refuse me: and from hence I go. To make these doubts all even. [Exeunt Rosalind and Celia. Duke S, I do remember in this shepherd boy Some lively touches of my daughter's favom*. ^ *.: i- t t

ACT V. SCENE IV. 75 Touch, Salutation and greeting to you all ! Jaq, Good my lord, bid him welcome : this is the motleyminded gentleman that I have so often met in the forest : he liath been a courtier, he swears. 41 ToucJb, If any man doubt that, let him put me to my purgation. I have trod a measure; I have flattered a lady; I liave been politic with my friend, smooth with mine enemy ; I have undone three tailors ; I have had four quarrels, and like to have fought one. Jaq. And how was that ta*en up? Touch, Faith, we met, and found the quarrel was upon the seventh cause. Jaq, How seventh cause ? Good my lord, like this fellow. -Ouke S. I like him very well. 51 Touch, God *ild you, sir ; I desire you of the like. I press in here, sir, amongst the rest of the country copulatives, to swear and to forswear ; according as marriage binds and blood breaks : a poor virgin, sir, an ill-favoured thing, sir, but mine own ; a poor humour of mine, sir, to take that that no man else will : rich honesty dwells like a miser, sir, in a poor house ; 2s your pearl in your foul oyster. J^uke S, By my faith, he is very swift and sententious. •' ^€3uch. According to the fooPs bolt, sir, and such dulcet ^seases. 61 ^aq. But, for the seventh cause; how did you find the ^luarrel on the seventh cause? T'ouch, Upon a lie seven times removed : — ^bear your body niore seeming, Audrey : — as thus, sir. I did dislike the cut of a certdn courtier's beard : he sent me word, if I said his beard was not cut well, he was in the mind it was : this is called the Retort Courteous. If I sent him word again *it was not well cut,* he would send me word, he cut it to please himself: this is called the Quip Modest. If again ' it was not well cut,' he ■,y€) dibbled my judgement: this is tailed the Reply Churlish. If again *it was not well cut,' he would answer, I spake xvot\x>jfi:\ tlus is called the Reproof Valiant. If a^am * \\. ^^^ ^"oN- ^^

76 AS YOU LIKE IT. cut,' he would say, I lied: this is called the CounterchecM Quarrelsome : and so to the Lie Circumstantial and the Lis Direct. 70 Jaq, And how oft did you say his beard was not well cut ? Touch, I durst go no further than the Lie Circumstantial, nor he durst not give me the Lie Direct ; and so we measure J swords and parted. Jaq, Can you nominate in order now the degrees of the lie? 82 . ^ ■ Touch, O sir, we quarrel in print, by the book ; as you J. have books for good manners : I will name you thie degrees. .^ The first, the Retort Courteous; the second, the Quip Modest; the third, the Reply Churlish; the fourth, the Reproof Valiant ; the fifth, the Countercheck Quarrelsome ; the sixth, the Lie with Circumstance ; the seventh, the Lie Direct. All these you may avoid but the Lie Direct ; and you may avoid that too, with an If. I knew when seven justices could not take up a quarrel, but when the parties were met themselves, one of them thought but of an If, as, * If you said so, then I said so ' ; and they shook hands and swore brothers. Your If is the only peace-maker; much virtue in If. 95 Jaq. Is not this a rare fellow, my lord ? he *s as good at any thing and yet a fool. Duke S, He uses his folly like a stalking-horse and under the presentation of that he shoots his wit. Enter Hymen, ROSALIND, and Celia. Still Music, Hym, Then is there mirth in heaven, loc When earthly things made even Atone together. Good duke, receive thy daughter: Hymen from heaven brought her. Yea, brought her hither. That thou mightst join her hand with his Whose heart within his bosom \s.

ACT V. SCENE IV. yy Ros, [To duke] To you I give myself, for I am yours. [To OrL] To you I give myself, for I am yours. 109 Buke S, If there be truth in sight, you are my daughter. OrL If there be truth in sight, you are my Rosalind. Pbe, If sight and shape be true, Why then, my love adieu! Ros, ril have no father, if you be not he : 1*11 have no husband, if you be not he : Nor ne*er wed woman, if you be not she, Ifym. Peace, ho ! I bar confusion : *Tis I must make conclusion Of these most strange events : Here's eight that must take hands 120 To join in Hymen's bands, If truth holds true contents. You and you no cross shall part: You and you are heart in heart; You to his love must accord. Or have a woman to your lord: You and you are sure together. As the winter to foul weather. Whiles a wedlock-hymn we sing. Feed yourselves with questioning; 130 That reason wonder may diminish. How thus we met, and these things finish. Song. Wedding is great Juno's crown: O blessed bond of board and bed ! *Tis Hymen peoples every town; High wedlock then be honoured: Honour, high honour and renown, To Hymen, god of every town ! Duke S. O my dear niece, welcome thou art to me ! Even daughter, welcome, in no less degree. 140 Pife. 1 will not eat my word, now thou art mine; Thy faith my fancy to thee doth combine.

7o AS ruu Enter Jaques DE BoyS. Jaq. de B, Let me have audience for a word or two : I am the second son of old Sir Rowland, That bring these tidings to this fair assembly. Duke Frederick, hearing how that every day Men of great worth resorted to this forest, Addressed a mighty power; which were on foot. In his own conduct, purposely to take His brother here and put him to the sword: 150 And to the skirts of this wild wood he came ; "Where meeting with an old religious man, After some question with him, was converted Both from his enterprise and from the world; His crown bequeathing to his banish'd brother, And all their lands restored to them again That were with him exiled. This to be true, I do engage my life. Duke S. Welcome, young man; Thou ofFer'st fairly to thy brothers* wedding: To one his lands withheld, and to the other 160 A land itself at large, a potent dukedom. First, in this forest let us do those ends That here were well begun and well begot: And after, every of this happy number That have endured shrewd days and nights with us Shall share the good of our returned fortune. According to the measure of their states. Meantime, forget this new-fallen dignity And fall into our rustic revelry. Play, music ! And you, brides and bridegrooms all, 1 7 With measure heap'd in joy, to the measures fall. Jaq, Sir, by your patience. If I heard you rightly. The duke hath put on a religious life And thrown into neglect the pompous court? Jaq de B, He hath. Jaq, To him will I : out of these convertites There is much matter to be heard and leam'd. rTo Du^e] YoM to your former "honowt \ \>^^^^^i^cv^

ACT V. SCENE IV, 79 Your patience and your virtue well deserves it: 179 [^0 OrL'\ You to a love that your true faith doth merit : I'^o OIL"] You to your land and love and great allies : [To SiL] You to a long and well-deserved bed : [To Touch,] And you to wrangling ; for thy loving voyage Is but for two months victualled. So, to your pleasures: I am for other than for dancing measures. I>u^e S, Stay, Jaques, stay. 1 Jag, To see no pastime I : what you would have i'U stay to know at your abandon'd cave. [Exit, Duke S, Proceed, proceed: we will begin these rites, As we do trust they'll end, in true delights. \A dance. Epilogue. ^os. It is not the fashion to see the lady the epilogue ; biit it is no more unhandsome than to see the lord the prologue. If it be true that good wine needs no bush, *tis true that a good play needs no epilogue ; yet to good wine they do use good bushes, and good plays prove the better by the help of good epilogues. What a case am I in then, that am neither a good epilogue nor cannot insinuate with you in the behalf of a good play ! I am not furnished like a beggar, therefore to beg will not become me: my way is to conjure you; and I'll begin with the women. I charge you, O women, for the love you bear to men, to like as much of this play as please you : and I charge you, O men, for the love you bear to women — as I perceive by your simpering, none of you hates them — that between you and the women the play may please. If I were a woman I would kiss as many of you as had beards that pleased me, complexions that liked me and breaths that I defied not : and, I am sure, as many as have good beards or good faces or sweet breaths will, for my kind offer, when I 3iake curtsy, bid me farewell. [Exeunt,

NOTES. ACT I. Scene I, The play was first printed in the folio of 1623, where it is divided into Acts and Scenes. I. upon thisfashiont after this fashion. Seeii. 4. 56. 1. 2. bequeathed me by will. This is the reading of the folios, in which we may either understand ' bequeathed ' as a participle or as the past tense. In the latter case we must supply the nominative ' he ' or ' my father.' In the former a stronger stop must be placed at * fashion.' For instances of the omission of the nominative see v. 4. 153, Abbott, § 399 ; Hamlet, ii. 2. 67 ; Lear, ii. 4. 42, 293, &c., and the notes on those passages. Johnson would put a full stop at * me.' Warburton substitutes * my father ' for ' fashion.' 2. poor a thousand. For this transposition of the indefinite article see Abbott, § 422 ; The Tempest, iv. l. 123, * So rare a wonder'd father.* 3. on his blessing, as a condition of obtaining his blessing. So Heywood, The English Traveller (Works, iv. 49) : * This doe vpon my blessing.* Compare Othello, ii. 3. 178 : 'Speak, who began this? on thy love, I charge thee.* And better, Timon of Athens, iii. 5. 87 : * Urge it no more. On height of our displeasure.' lb, to breed, to educate, bring up. Compare The Merchant of Venice, ii. I. 3: * The burnish'd sun. To whom I am a neighbour and near bred.* And Measure for Measure, iv. 2. 135 : * A Bohemian born, but here nursed up and bred.* 4. y agues. In the last scene where only he appears he is called * Second Brother * in the folios, to avoid confusion with the melancholy Jaques. 5. he keeps at school. For * school,' in the sense of imiversity, compare Hamlet, i. 2. 113: *For your intent In going back to school in Wittenberg, It b most retrograde to out desot. ^ • a*

8a I^OTES. [Acri. 5. goldenly. Compare Macbeth, i. 7. 33 : * He hath honoured me of late ; and I have bought Golden opinions from all sorts of people.' lb. profit, proficiency. II. manage, the training and breaking in of a horse, from Fr. maiUgt. Compare i Henry IV, ii. 3. 52 : * Speak terms of manage to thy bounding steed.' And Richard H, iii. 3. 179. lb, dearly hired. For the omission of * are * see Hamlet, iii. 3. 62 : * But 'tis not so above ; There is no shuffling, there the action lies In his true nature; and we ourselves compelled. Even to the teeth and forehead of our faults. To give in evidence.' And Abbott, § 403. 13. the which. See The Tempest, i. 2. 137; Abbott, § 270. 15. coiMtenance, favour, regard, patronage. Compare Coriolanus, v. 6. 40 : * He waged me with his countenance, as if I had been mercenary.* And Hamlet, iv. 2. 16 : * Ay, sir, that soaks up the king's countenance, his rewards, his authorities.' 16. hinds, servants (A. S. hina), or farm-labourers. It is used still in the North for a farm bailiff. Chaucer (Prologue, 1. 603) spells the word * hynt * : *Ther nas ballif, ne herde, ne other hyne. That they ne knewe his sleight and his covyne.* Compare Merry Wives of Windsor, iii. 5. 99 : * A couple of Ford's knaves, his hinds, were called forth by their mistress to carry me in the name of foul clothes to Datchet-lane.* Ih, bars me, excludes me from. 17. 18. mines my gentility, undermines the gentleness of my birth and 90 destroys it. For * mine ' in this sense see Hamlet, iii. 4. 148 : * Whiles rank corruption, mining all within. Infects unseen.' 26. what make you here? what do you here? As in Hamlet, i. 2. 164: * And what make you from Wittenberg, Horatio ? * For the play upon the words * make' and *mar,' and the two senses of •make,' compare Love's Labour 's Lost, iv. 3. 190-192 : *King. What makes treason here? Cost. Nay, it makes nothing, sir. King, If it mar nothing neither. The treason and you go in peace away together.' ^p. Marry, an exclamation, from the name of the Vitgjln Mary, used as w oatbm Here it keeps up a poor pun upon * nai?

«c. I.] AS roU LIKE IT. 83 31, 32. he naught awhile^ as explained by Warburton, * is only a northcountry proverbial curse,, equivalent to a mischief on you* Mason supported Warburton's explanation by a reference to Ben Jonson's Bartholomew Fair, ii. I : ' Leave the bottle behind you, and be cursM awhile.' Gifford, in his note on this lasttmentioned passage, quotes further A Tale of a Tub, li. i : * Peace, and be naught I * And Steevens refers to an instance of the whole phrase in the old interlude of The Storie of King Darius (1565) : *Come away, and be nought awhyle, Or surely I will you both defyle.' 33. Referring to Luke xv. The story of the prodigal son was exhibited' in puppet shows (see Winter's Tale, iv. 3. 103), and was the subject of the decorations of walls (2 Henry IV, ii. i. 157). 34. what prodigal portion have I spent 7 what portion have I prodigally spent? See ii. 3. 39. 39* ^^n I am before, he whom I am before. Compare The Tempest, v. 1. 15: *But chiefly Him that you term'd, sir, " The good old Lord, Gonzalo." ' And Hamlet, ii. i. 42. See Abbott, § 208. 4^- The courtesy of nations. This expression led Theobald to conjecture that • courtesy ' was the true reading in a very similar passage in Lear, i. 2,4: * Wherefore should I Stand in the plague of custom, and permit The curiosity of nations to deprive me. For that I am some twelve or fourteen moonshines Lag of a brother.' 45. your coming before me is nearer to his reverence, the fact of your being the eldest bom brings you nearer in descent to our father, and so to the respect due to him. 47. What, boy f Oliver attempts to strike him, and Orlando in return seizes him by the throat. 48. too young, too raw and inexperienced in trials of strength. It occurs in just the contrary sense in Much Ado about Nothing, v. i. 119: *Had we fought, I doubt we should have been too young for them.* 51,7 am no villain, no serf or bondman ; with a play on the other meaning. See note on Lear, iii. 7- 79» ^^^ Lucrece, 1338 : • The homely villain court'sies to her low.' 57. for your father's remembrance, for the sake of your father's memory. 6$. such exercises as may become a gentleman. Compare Two Gentlemea of Verona, i. 3. 30-33 : 'There shall he practise tilts ai\d IoxjlttvmcvcwXs, Hear sweet discourse, converse vatYi tioVJVcreiW^ G a

84 NOTES. [actu And be iii eye of every exercise Worthy his youth and nobleness of birth/ 66. allottery^ portion. Ih, testament, will. 67. go buy. See i. 2. 223, and Hamlet, i. 5. 132, and note: •And for my own poor part. Look youy rilgo pray.* 77. spoke. See Abbott, § 343, and note on Lear, i. i. 228. 78. grow upon, encroach. Compare Julius Caesar, ii. I. 107: *Here, as I point my sword, the sun arises, Which is a great way growing on the south.' 79. rankness, luxuriant growth, exuberance ; hence, insolence. 82. wrestler t spelt *wrastler' in the folios, and so pronounced. Cotgrave {Fr. Diet.) gives * Luicter, to wrastle, to struggle, or striue with.* In the Authorised Version of 161 1 we find, Gen. xxx. 8, * With great wrastlings haue I wrastled with my sister, and I haue prevailed.* In other passages the modem spelling occurs, as I believe it does uniformly throughout the Geneva Version of 1560, 95. good leave, ready permission. See Merchant of Venice, iii. 2. 326 ; •Since I have your good leave to go away, I will make haste.' And I Henry IV, i. 3. 20 : *You have good leave to leave us.' 100. she. The first folio has * hee.' 1 01. or have died to stay behind her; that is, if forced'to stay behind her. See Abbott, § 356. 106. the forest of Arden. The scene is taken from Lodge's novel. The ancient forest of Ardennes gave its name to the department in the N,E. of France on the borders of Belgium. 107. a many. Compare Henry V, iv. i. 127: 'Then I would he were here alone ; so should he be sure to be ransomed, and a many poor men's lives saved.* See note on Merchant of Venice, iii. 5. 53 (Clar. Press ed.), and Abbott, § 87. 109. fleet the time, make it pass swiftly. An instance of Shakespeare's liabit of forming verbs from adjectives. See note on * bold,' Lear, v. i. 26. no. the golden world, or the golden age. See Ovid, Met. i. III. What. See above, line 47, and note on Lear, i. 4. 326. 117. shall acquit him well, will have to acquit himself well. See y, 1. 1 1, wad Abbott, § 315. 121. intendment, intention, purpose. Compare Venus and Adonis, 222 : *And now she weeps, and now she fain would speak. And DOW her sobs do hei mteiidmevi\.& \>i^%>s^

8c. I.] AS you LIkE IT. 85 And Henry V, i. 3. 144 : * We do not mean the coursing snatchers only. But fear the main intendment of the Scot.' 126. hy underhand means^ because of the obstinacy which he attributes to him. 128. it is ike stubbornest, &c. Compare Macbeth, i. 4. 58 : • It is a peeress kinsman,' There is here too something of the familiarity we observed there, though in Oliver it is contemptuous. See iii. 5. 112, and Henry V, "'• 6. 70, quoted below in note on line 134. 1 29. emulator, in a bad sense, as * emulation ' is used in Troilus and Cressida, ii. 2. 212 : 'Whilst emulation in the army crept.' And Julius Caesar, ii. 3. 14 : • My heart laments that virtue cannot live Out of the teeth of emulation.* 1 30, contriver, plotter. Compare Macbeth, iii. 5. 7 : * The close contriver of all harms.' And Julius Caesar, ii. i. 158 : 'I think it is not meet Mark Antony, so well beloved of Caesar, Should outlive Caesar: we shall find of him A shrewd contriver.' X33. 05 lieff as gladly, as willingly. So Hamlet, iii. 2. 4: 'I had as lief ^e town-crier spoke my lines.' 133. thou wert best. See note on The Tempest, i. 2. 367. 134. grace himself on thee, get himself honour or reputation in the contest with thee. See v. 2. 52, and Henry V, iii. 6. 71 : * Why, 'tis a gull, a fool, a rogue, that now and then goes to the wars, to grace himself at his wtum into London under the form of a soldier.' 135. practise^ plot. See note on Lear, iii. 2. 57. 140. anatomize, expose him, lay his faults bare. See ii. 7. 56. The first ind second folios have ' anathomize.' 143. his payment, his punishment. Compare i Henry IV, ii. 4. 213: *I kave peppered two of them : two I am sure I have paid.' 147. gamester, a young frolicsome fellow. See Henry VIII, i. 4. 45 : 'You are a merry gamester, my lord Sands.' Cotgravc (Fr. Diet.) has * loueur : m. A player, gamester ; dallier, sporter.* 148. than he, loosely used for * than him.* Compare Merry Wives of Windsor, iv. 4. 87 : * And he my husband best of all affects.' So 'who* for 'whom* in The Tempest, i. 2. 80; Lear, i. 4. 26: 'I' €at *me*ia this play, 1. 2. 1$ : ' we ' for * us ' in HamVeV, V. v ^v 149' Ji^ 0/ noble device, o£ noble conception* ^uA »Arcv%»

66 NOTES. [actl 149. 150. In a copy of the fourth folio which fbnneilj bdoi^ed to Steevens, he has marked these lines as descriptive of Shakespeare himself. 1 50. o/all sorts f of all classes. Compare * all sorts and cooditi

2.] AS YOV LIKE IT. 87 26. tempered^ composed. * To temper ' is to blend together the ingredients of a compound. Compare Hamlet, v. 3. 339 : * It is a poison tempered by himself.' And Cymbeline, v. 5. 350 : • The queen, sir, very oft importuned me To temper poisons for her.* ^i^ Exodus xxix. 2 : * Cakes unleavened tempered with oil.* 15. hut I, See below, 1. 250, and compare * than he,^ i. I. 148. lb. nor none. For the double negative see below, 1. 24, * nor no further 01 sport neither.* 16. lihe^ likely. See iv. i. 61. 18. render thee, give thee back, return thee. See ii. 5. 24. 25. a pure blush, that has no shame in it. Hf. come off, get off, escape, as from a contest. So Troilns and Cressida, »-3. 381: ' If the dull brainless Ajax come safe off.' 28. the good housewife Fortune. Compare Antony and Cleopatra, iv. 15- 44: 'No, let me speak; and let me rail so high, That the false housewife Fortune break her wheel. Provoked by my offence.* Johnson thought that Shakespeare has confused Fortune and her wheel with the Destiny that spins the thread of life. The wheel of Fortune, however, U not a spinning wheel but a rolling and unsteady thing, the s)rmbol of her own inconstancy. What Shakespeare understood by the ancient representations of Fortune he has made Captain Fluellen expound in Henry V, iii. 6. 32-40. Compare also Hamlet, ii. 2. 515-519. 35. honest, virtuous. See Hamlet, iii. I. 103, and below, iii. 3. 21. 36. ill-favouredly, in an ugly manner. See iii. 2. 244. The adjective occurs in iii. 5. 53, and Genesis xli. 3, &c. For * favour* as denoting personal appearance, see iv. 3. 85 ; Richard II, iv. i. 168 ; Macbeth, 39. Enter Touchstone. In the folios it is * Enter Clowne.' 42. flout, mock, scoff at. Compare Midsummer Night's Dream, iii. a. 327 : •Why will you suffer her to flout me thus?* Cotgrave (Fr. Diet.) gives * Brocarder. To quip, cut, gird, reach ouer the thummes ; least at ; flout, mocke, scoffe, deride, or gibe at.* 45. natural, an idiot. So The Tempest, iii. 2. 37 : * That a monster ihonld be such a natural ! * 48, 49. perceiveth . . . and hath sent. Malone inserted ' and.' The first &Uo reads * perceiveth,^ which was altered Vn lihe VaXei lQ\\o%\siXck '•^w.ea'riag/

58 NOTES. [actu . 49. to reason, to disconrse, talk. So Merchant of Venice, ii. 8. 37 : * I reason'd with a Frenchman yesterdaj.' 50. whetstone of the wits. The title of Robert Recorde's Arithmetic is The Whetstone of Witte. 51. wit! whither wander you 7 * Wit, whither wilt?' was a proverbial expression. See iv. i. 145. 60, 61 . and yet was not the hnight forsworn, Boswell has shewn that the }oke, such as it is, occurs in the old play Damon and Pithias (Dodsly's Old English Plays, iv. 60, ed. Hazlitt) : *I haue taken a wise othe on him: have I not, trow ye. To trust such a false knave upon hb honestie? As he is an honest man (quoth you?) he may bewray all to the kinge. And breke his oth for this never a whit.* 75. The folios give this speech to Rosalind ; Theobald assigned it to Celia. Capell proposed to remove the difficulty by reading * Ferdinand* for * Frederick ' in 1. 74. In the folios the banished Duke is called in the stage directions * Duke Senior.' Ih, is enough to honour him : enough I Hanmer's reading. The folios have * is enough to honor him enough ; speake, 8cc.* 76. /a^a//on, satire, censure. For the verb * tax,' see ii. 7. 71. 'Taxing' occurs in ii. J. 86. Compare Hamlet, i. 4. 18 : 'This heavy-headed revel east and west Makes us traduced and tax'd of other nations.' 80. Perhaps referring to some recent inhibition of the players. Sec Hamlet, ii. 2. 346. lb. troth, faith ; A. S. tre6u^. See iii. 3. 365. 85. will put on us, will pass off upon us, address us with, communicate to us. Compare Measure for Measure, ii. 2. 133: * Why do you put these sayings upon me ? * Twelfth Night, v. 1. 70: * But in conclusion put strange speech upon me.* See also Hamlet, i. 3. 94. 91. colour is used for * kind,' * nature,* in Lear, ii. 3. 145 : * This is a fellow of the self-same colour Our sister speiiks of*: where the quartos actually read * nature.' 94. destinies decree. The folios have * destinies decrees,' one out of many instances in which by a printer's error an • s' has been added to a word, and by no means to be regarded as an example of the old northern plural in * s,.' which so far as Shakespeare is concerned is a figment of grammarians. See i- 3. 59» ii. 7. 198, and Sidney Walker's Critical Examination of the Text of Shakespeare, Art. xxxviii. ;

Jfcaj AS YOV LIKE IT. 89 95. laid^n with a trowel^ coarsely, clumsily ; as gross flattery is said to be. 96. if I keep not my rank. The jest is repeated in C)nnbeline, ii. 1. 17 : * Clo, Would he had been one of my rank t Sec, Lord [Aside"]. To have smelt like a fool.* 98. amaze, confound, confuse. The word * amazement* was originally applied to denote the confusion of mind produced by any strong emotion, as in Mark xiv. 33 : * and began to be sore amazed, and to be very heavy.' 102, 103. 15 yet to do, or to be done. For this use of the infinitive active compare The Tempest, iii. 2. 106 : *And that most deeply to consider is The beauty of his daughter.' Othello, i. 2.19: • *Tis yet to know.' Twelfth Night, iii. 3.18: * What *s to do?' 106. There comes. See v. 2. 67 and Abbott § 335. lo8. proper, handsome. See iii. 5. 51. In this sense the parents of Moses saw that he was * a proper child,' Hebrews xi. 23. 1 10. With bills on their necks. Farmer would make these words part of Le Beau's speech, and Dyce adopted the arrangement. For the phrase * on their necks,' Fanner quotes from Lodge's novel, * Thus perplexed lived poore Ganimede, while on a day, sitting with Aliena in a great dumpe, she cast up her eye, and saw where Rosader came pacing towardes them with his forrest bill on his necke * (p. 84). The same play upon the two senses of the word 'bill' occurs in Much Ado about Nothing, iii. 3. 191 : * We are like to prove a goodly commodity, being taken up of these men's bills.' And 2 Henry VI, iv. 7. 135 : * My lord, when shall we go to Cheapside and take up commodities upon our bills ?' 117. dole, grief, lamentation; Fr. deidl. So Hamlet, i. 2. 13 : * In equal scale weighing delight and dole.' 126. I promise thee, I assure thee. See The Merchant of Venice, iii. 5. 3: •Therefore, I promise ye, I fear you.' 127. any, any one. So in Measure for Measure, i. i. 23 : * If any in Vienna be of worth To undergo such ample grace and honour, It is Lord Angelo.' And Henry V, iv. 3. 66 : *And hold their manhoods cheap whiles any speaks That fought with us upon Saint Crispin's day.' Compare * every,' v. 4. 164. Jb. see. Theobald, after Warburton, read * set.' J6. broken music, was first explained by Mr. Chappell (Popular Music of the Olden Time, p. 246) as the music of a string band. But he has since altered his opinion, and has kindly favovitcd ti\t NdxtK iVvt feUo^vix^OL^^Ussa.tJon, Some iastrumenU, such as vioVs, vioYms ft»X«^ ^t.^ ^«^ Vsws*:^.'^

90 NOTES. [ACtii |t-l made in sets of four, which when played together formed a • consort.* ^ one or more of the instruments of one set were substituted for the cotresponding ones of another set, the result was no longer a * consort * but * broken music.' The expression occurs in Henry V, v. 2. 263 : * Coca** your answer in broken music ; for thy voice is music, and thy EngUs" broken.' And Bacon, Essay xxxvii. p. 156 : * I understand it, that the Sof^% be in Quire, placed aloft, and accompanied with some broken Musicke.* 135. entreated^ prevailed upon by entreaty, persuaded. 139. successfully, as if he would win. The adverb is similarly used 0^^ the adjective in The Tempest, iii. i. 32 : * You look wearily.* 144. suck odds in the man, such advantage on the side of the wrest! ^^ Charles. There is no necessity for changing * man' to * men * with Hanm^^' For * odds ' in the sense of advantage or superiority compare Love's Labour ' Lost, i. 2. 183: * Cupid's butt-shaft is too hard for Hercules' club; a»^ therefore too much odds for a Spaniard's rapier.* 149. the princess calls. This is the reading of the folios, which changed by Theobald to * the princesses call,' on account of what Orland< says, * I attend them &c.* But it is Celia who gives the order, and it ma be that Orlando in his reply is thinking of Rosalind, and is made to sa • them ' designedly. In either case there is a difficulty. For if * princess ' i^ for * princesses ' as Sidney Walker and Dyce held (see The Tempest, i. 2. 1 73^ and below, ii. 2. 10), then * calls * is an error of the scribe or printer. 159, 160. your eyes , . , your judgement, Hanmer, adopting Warburton*^ conjecture, read * our eyes . . . our judgement.' But the meaning is, • If you used the senses and reason which you possess.* 165. misprised. See i. 1. 152. 166. might, used for *may,' as in Hamlet, i. i. 77. j6S. wherein. Johnson proposed 'therein,* and M.Mason 'herein.' The construction is loose, and we must supply as antecedent some such expression as * in this business,* or as Malone suggests * of my abilities.' Knight takes 'wherein' as equivalent to * because' or *in that,' and the* hard thoughts* to refer not to what the ladies had already said, but to what they might think of him for refusing their request. This would make very good sense, but it is not the meaning of * wherein.* Mr. Spedding would omit * wherein * altogether. lb, me, used as a reflexive pronoun. Abbott, § 223. lb. much guilty. * Much* by itself is not now commonly used with adjecr tives. Compare 2 Henry IV, iv. 4. 1 1 1 : ' I am much ill.* And Timon of Athens, iii. 4. 30 : * 'Tis much deep.* 171. gracious, looked upon with favour. So 3 Henry VI, iii. 3. 117 : * But is he gracious in the people's eye?' 174. only in the world, &c. *Only* is here transposed, as in ▼. 3. 11, We should say * I only fill up a place in the woild.* J«%r. working, operation, endeavoux. Cota^axft 2^cKq\N,Vi.'i, a^\ .

IC.3.] AS YOU LIKE IT. * The very opener and intelligencer Between the grace, the sanctities of heaven And our dull workings.* « 1 90. Vou mean to mock me after, Theobald conjectured *An you*; Mason * If you.* The former reading is very plausible, as it may easily have ^een corrupted by the printers, who regarded * Orl. And * as part of the stage w\r, ^•is!v& "^>a Aroors, with a. play upon the other meamug oi \ht vjo\^.

92 NOTES. [Acti. 230. could give more^ would willingly give more. Antony says of Fulvia, Antony and Cleopatra, i. 2. 131 : • ' She*s good, being gone ; The hand could pluck her back that shoved her on.' 232. my better parts. Compare Macbeth, v. 8. 18: * Accursed be that tongue that tells me so,. I For it hath cow'd my better part of man ! * 234. a quintain. The spelling of the folios is * quintine.* Hasted, in his History of Kent (ii. 224), says, * On Ofham green there stands a Quintin, a thing now rarely to be met with, being a machine much used in former times by youth, as well to try their own activity as the swiftness of their horses in running at it. . . . The cross-piece of it is broad at one end, and pierced full of holes ; and a bag of sand is hung at the other and swings round, on being moved with any blow. The pastime was for the youth on horseback to run at it as fast as possible, and hit the broad part in his career with much force. He that by chance hit it not at all, was treated with loud peals of derision ; and he who did hit it, made the best use of his swiftness, least he should have a sound blow on his neck from the bag of sand, which instantly swang round from the other end of the quintin. The great design of this sport was to try the agility both of horse and man, and to break the board, which whoever did, he was accounted chief of the day's sport.' In Brand's Popular Antiquities (ii. 163, 164, Bohn's Antiq. Library), where the zhovt passage is quoted, it is stated, on the authority of Bishop Kennett, that mnning at the quintain was a favourite sport at country weddings in Oxfordshire as late as the end of the seventeenth century. (See Kennett's Parochial Antiquities, pp. 18, 19; Plot's Natural History of Oxfordshire, p. 204.) Fitzstephen, quoted by Stow (Brand, Pop. Ant. i. I77)t gives an account of an Easter amusement of his time which was a kind of water quintain* The quintain described by Strutt (Sports and Pastimes, iii. i) *was ^^ the likeness of a Turk or a Saracen, armed at all points, bearing a sKVeU upon his left arm, and brandishing a club or a sabre with his right.' ^^ this case the object was to strike the figure in such a manner as to preven*^^ from swinging round and striking the tilter with the sabre. There is gi*^^ in Du Cange a Low Latin word, Quintana^ which is found in Italian in "^^ same form, and in French as quintaine. Cotgrave (Fr. Diet.) gives a furtf"''^ modification: 'Quintaine: f. A Quintane (or Whintane) for counti — ^ youthes to runne at.' Mr. Skeat has pointed out to me a passage Chaucer (Prologue to Manciple's Tale, 1. 16974, Percy Soc. ed.) : * Now, swete sir, wol ye joust atte fan ?' where the fan is the quintain. The game is supposed to have come dow** to us as the representative of the ancient palaria or exercises of the Roma^ ^ soldiery, and if so it may have derived its name from quintana, the principal Street of the camp, where the market was held. RobtiU, m hU Cambriai^

3.] AS YOU LIKE IT. tpular Antiquities, claims for the game a Welsh origin, and for the word Welsh etymology, deriving it from gwyntyn, a vane, which, however, is ot a word recognised in any Welsh dictionary to which I have had access. ^34' lifeless. The first folio has ' liuelesse,' as in all the other passages in which the word occurs. 239. Have with you^ come along. See Othello, i. 2. 53 ; and compare Bamlet, i. 4. 89, * Have after.' 247. condition, temper, frame of mind, disposition. Compare Richard III, »^'4. 157: ' Madam, I have a touch of your condition. Which cannot brook the accent of reproof.* And Lyly, Euphues and his England (ed. Arber), p. 340 : * In complection of pure sanguine, in condition a right Sainte.* 348. misconstrues. The folios spell it * misconsters,* as it was pronounced. 349, humorous, capricious. CoAipare 2 Henry IV, iv. 4. 34 : ' As humorous as winter, and as sudden As flaws congealed in the spring of day.' ^50. J. See above, 1. 15. 355. lesser. This is Mr. Spedding's conjecture for the reading of the Lios * taller,* which is obviously wrong. Pope read 'shorter,* Malone Smaller,' Staunton Mower.' In i. 3. 112, Rosalind says of herself, 'Because ^^at I am more than common tall,' and in iv. 3. 86, 87, Celia is identified ^> Oliver as * the woman low And browner than her brother.* **os$ibly the error was one of the author rather than of the printer. 262. argument, cause, occasion. See iii. i. 3, and compare Hamlet, ix 4. 54 ; • Rightly to be great Is not to stir without great argument.' 865. on my life. Compare Winter's Tale, v. i. 43 ; • Who, on my life, Did perish with the infant.* a67« in a better world, in a better age or state of things. See i. I. lie *the golden world'; and Richard II, iv. I. 78 : * As I intend to thrive in this new world.' Also, Coriolanus, iii. 3. 135 : * There is a world elsewhere.' 269. 7 rest. Compare Macbeth, i. 6. 20 : * We rest your hermits.* Jb, bounden, obliged. Compare King John, iii. 3. 29 : * I am much bounden to your Majesty.* 370. from the smoke into the smother, out of the frying-pan into the 'Smotber * is the thick stiAing smoke of a sniou\dtnii^^^» "^-wiQi^ n>

94 NOTES. [act pass in smother' for *to be stifled,* in Essay xxvii. p. 112; and * to keep l smother' for * to stifle/ in Essay zxxi. p. 1 34. Scene III, 11. for my child's father , my husband that is to be. Rowe, from prut motives, altered this to * my father's child/ and the change was approved b] Coleridge. 12. this working-day worlds this common condition of things. Compare Antony and Cleopatra, i. 2. 55 : 'Prithee, tell her but a worky-day fortune."*^ 16. coatf used of a woman's garment, as in the Authorised Version o^B Canticles, v. 3. 18. Hem them away. So Much Ado about Nothing, v. I. 16: *Cry hem..^ when he should groan.* ' 25. on such a sudden^ so suddenly. Shakespeare uses * on a sudden,* ' of a-^ sudden,* and * on the sudden,' elsewhere, but not ' on such a sudden.* 31. hated his father dearly ^ excessively. Compare Hamlet, iv, 3. 43 : *As we dearly grieve For that which thou hast done.* 34. doth he not deserve well T that is, to be hated. Rosalind takes the ^ words in another sense. 38. With your safest haste ^ with speed which is your best security, 3Q. cousin^ used for * niece,* as in Twelfth Night, i. 3. I, 5, Sir Toby exclaims, * What a plague means my niece/ And Maria in her answer says, •Your cousin, my lady.* See Hamlet, i. 2. 64. 40. be^st. See note on The Tempest (Clar. Press ed.), ii. 2. 91. 50. purgation, exculpation. See Winter's Tale. iii. 2. 7 : ^ *Let us be clear'd Of being tyrannous, since we so openly Proceed in justice, which shall have due course. Even to the guilt or the purgation.* 54. the likelihoodt the probability of my being a traitor. The first folio has * likelihoods,* another instance of a common error in that volume to which attention has been called in the note on i. 2. 93. 62. To thinkf as to think. For the omission of * as* compare Merchant of Venice, iii. 3. 10 : 'I do wonder. Thou naughty gaoler, that thou art so fond To come abroad with him at his request.* Lear, i. 4. 40, 41 ; ii. 4. 278, 279. Abbott, § 281. 67. remorse, tender feeling, compassion; not compunction. See The Tempest, v. I. 76 : * You, brother mine, that eivlenaVsC^ axE^>\>aot^ ExpeU'd remorse and natvLie*

• 3.] AS YOU LIKE IT. 95 68. that timet at that time, then. Compare Antony and Cleopatra, ii. 5. 18: 'That time— O times!— I laughed him out of patience.' See Abbott, § 202. 70. stUl, See i. 2. 209. 72. Juno*s swans. No commentator appears to have made any remark ^pon this, but it may be questioned whether for ' Juno * we ought not to **8d •Venus,* to whom, and not to Juno, the swan was sacred. In Ovid's *wetam. x. 708, 717, 718, the same book which contains the story of ^talanta, who is mentioned in this play, and of Adonis, Venus is represented ™ a chariot drawn by swans. 75. patiencBy a trisyllable, as in Much Ado about Nothing, v. I. 280 : * I know not how to pray your patience.* 78. shoWt appear. Compare Merchant of Venice, ii. 2. 193: *But where thou art not known, why, there they show Something too liberal !' ■^^d for the thought, Antony and Cleopatra, ii. 3. 28 : •Thy lustre thickens. When he shines by.* *^^lius quotes from Lodge's novel (Collier's Shakespeare's Library, i. 29) : ^hou, fond girle, measurest all by present affection, and as thy heart ^Ves, thy thoughts censure ; but if thou knowest that in liking Rosalynd ^ou hatchest up a bird to pecke out thine owne eyes, thou wouldst intreat *s much for hir absence as now thou delightest in her presence.* 90. Thou hast not, cousin. To mend the metre Steevens proposed to read Indeed, thou hast not, cousin * ; but in cases where a line is divided between ^Wo speeches the metre is frequently faulty either by excess or defect. 93. NOf hath not? This is the punctuation of the folios, and is essentially the same as that of Rowe, who put a note of interrogation at ' No.' Singer would read 'No hath not' as an exclamation, regarding it as an example of an idiom of which Mr. Arrowsmith (Notes and Queries, 1st ser. vii. 520) gives several instances, such as 'No had?' for * Had you not?' 'No does ?' for • Does it not ?' • No dyd ?' for * Did you not*? • No will V for • Will you not?* * No could ye ?' for * Could ye not ?* but it will be at once seen that the addition of the second negative in * No hath not ' makes this phrase unlike the others. 1 94. Which teacheth thee that thou and I am one. Theobald mended what he considered was faulty in sense and grammar by reading * me * for •thee* and • are ' for * am.* Johnson considered the former change unnecessary ; for, said he, * where would be the absurdity of saying, You know not the Jaw which teaches you to do tight V l^o owt -shwX^ tccw '^oxj^ of writing, 'thou and I am,* but as it is au msXaxict ol ^ t»w&\s»K.^^'^ ^\

g6 NOTES. {act I. frequent occurrence in Shakespeare's time, by which the verb is attracted to the nearest subject, it should not be altered. See Ben Jonson, The Fox, ii, 1 : * Take it or leave it, howsoever, both it and I am at your service/ And Cynthia*s Revels, i. I : ' My thoughts and I am for this other element, water.' 98. heart carry, take. So in Comedy of Errors, i. 2. 9, giving money to Dromio, Antipholus says : • Go bear it to the Centaur, where we host.* 99. change, change of condition, altered fortunes. So the first folio. The later folios read 'charge,' that is, the burden attaching to such an altered condition. 109. umber, a brown colour or pigment, said to be so called from Umbria where it was first found. lb. smirch, to besmear, and so darken.' The second folio reads 'smitch,' the third and fourth 'smutch.* * Smeech,* * smutch,' and * smudge * are other forms of the same word, and are originally connected with * smear/ Nares regards ' smirch * as a corruption of * smutch,* but the contrary is more probable. In Much Ado about Nothing, iv. i. 135, *Who smirched thus and mired with infamy,* * smirched ' is the reading of the quarto ; the folios have • smeered * or * smcer'd.* * Smirched ' occurs besides in Much Ado about Nothing, iii. 3. 145, and Henry V, iii. 3. 17; and * unsmirched' is used for * unsullied' in Hamlet, iv. 5. 119 : *the chaste unsmirched brow.* Ill, &c. Compare Rosalind's speech in Lodge's novel (p. 32) : • I (thou seest) am of a tall stature, and would very wel become the person and apparel of a page : thou shalt bee my mistresse, and I wil play the man so properly, that (trust me) in what company so ever I come I wil not be discovered. 1 wil buy me a suite, and have my rapier very handsomly at my side, and if any knave offer wrong, your page wil shew him the poynt of his weapon.* 113. suit me, dress myself. Compare Cymbeline, v. I. 23 : *ril disrobe me Of these Italian weeds, and suit myself As does a Briton peasant.' And Lear, iv. 7* 6. lb. all points, in all points. For the omission of the preposition in su^ ^ adverbial phrases see iii. 1.2: *But were I not the better part made mercy.* 114. curtle-axe, a cutlas. The termination is an instance of a frequ( corruption by which a word is altered so as to correspond to a suppose etymology. Other forms of the word, due to the same tendency, are * lace* and ' cutlash.' A curtle-axe was not an axe at all, but a short swor*"^ The word is formed from a diminutiye of the L&tia cultellus, Florio (I^

sc; 3.1 AS you LIKE IT. ' 97 Diet.) has • Coltellaccio, a cutleaxe, a hanger.* Cotgrave gives * Coutelas : m. A Cuttelas, Courtelas, or short sword, for a man at armes.' Compare Fairfax,' Tasso, ix. 82 : *His curtlax by his thigh, short, hooked, fine.* And Henry V, iv. «. 21 : •Scarce blood enough in all their sickly veins To give each naked curtle-axe a stain.* Again Lodge in his novel, • To the Gentlemen Readers,* says, * Heere you may perhaps finde some leaves of Venus mirtle, but he wen down by a souldier with his curtlaxe.' Spenser, supposing the weapon to be a short axe, wrote (Faery Queene, iv. 2. 42) ; * But speare and curtaxe both vsd Priamond in field.* In Du Bartas, Historie of Judith (trans. Hudson), book 2, p. 16 (ed. 161 1), the word appears in the form * curtlasse ' : *And with a trembling hand the curtlasse drewe.* 117. swashing^ blustering, swaggering. Forby in his Vocabulary of East Anglia gives 'Swash, v. To afifect valour; to vapour or swagger*; and the adjective 'Swashy.* The word is undoubtedly an imitative word. To swash is to strike a noisy blow. In Baret's Alvearie we find, * to swash, or to make a noise with swordes against targets. Concrepare gladijs ad scuta. Hence a swashbuckler is a swaggerer. Florio (It. Diet.) gives, * Brauazzo, a roister, swashbuckler, a swaggerer, a fianter.' 118. mannish, masculine. So in Troilus and Cressida, iii. 21'j: *A woman impudent and mannish grown.* Compare Beaumont and Fletcher, Love's Cure, ii. 2 : * For she's as much too mannish, as he too womanish.* And Sidney, Arcadia, p. 58 (ed. 1598): * Yet altogether seemed not to make up that harmony, that Cupid delights in, the reason whereof might seeme a mannish countenance, which ouerthrew that louely sweetenesse, the noblest power of womankinde.* 119. outface it. See Lear, iv. i. 54: *I cannot daub it further.* For this indefinite use of 'it* see v. 2. 56, and Abbott, § 226. 133. Ganymede. These assumed names are taken from the novel, p. 32 : * Alinda being called Aliena, and Rosalynd Ganimede, they travelled along the vineyardes.' 135. Aliena, with the accent on the second syllable. 136. assayed, tried, endeavoured. So Venus and Adonis, 638: •She hath assay'd as much as may be proved.* 134. go we in. So the second and later folios. The first folio has 'go in we,* in which case * content * must be taken as an adjective. lb, comtent, contentment. Compare Henry VIII, ii. 3. 20 : •I swear, *tis better to be lowly bom, And range with humble livers in content.*

98 NOTES. [act II. ACT II. Scene 7. I. exile, with the accent on the last syllable, as in Richard II, i. 3. 15 X : * The dateless limit of thy dear exile/ But Shakespeare also uses it with the accent on the first syllable, in accoT^' ance with modern custom. See Coriolanus, v. 3. 45 : *Long as my exile, sweet as my revenge.* 5. Here feel we but the penalty of Adam, The folios read *not' '^^^ • but,' which is Theobald's conjectural emendation. A similar instance oF ***® interchange of ' not * and * but,* which is not infrequent, occurs in Coriola

sc. 1.] AS rOU LIKE IT. 99 'How all the other passions fleet to air, As doubtful thoughts, and rash-embraced despair, And shuddering fear, and green-eyed jealousy!* 13, 14. WTuch, like the toady &c. The real toad stone, as known to the ^^cients, was apparently so called from its resemblance to the toad or frog in Colour. Pliny says (xxxvii. 10, p. 625, trans. Holland), * The same Coptos ^^udeth other stones unto us besides, to wit, those which be called Batra^^itse ; the one like in colour to a frog, a second unto yvorie, the third is of a y^lackish red.* Besides this slight reference to the Batrachites, says Mr. King **^ his Natural History of Gems and Decorative Stones, pp. 43-46, *No * Virther notice of this stone can be traced in the other writers of antiquity, ■^^ut this singular epithet, primarily intended only to denote the peculiar ^^olour of the stone, furnished later times with the foundation for a most ^^Xiarvellous fable, which long obtained, as the number of examples still !^:^reserved attest, universal credit throughout Europe. Understanding the ^^ncient term as implying the i^atural production of the animal according to "^Jie analogy of other similar names, as the Saurites, Echites, &c. doctors "taught that the " toad, ugly and venomous, wears yet a precious jewel in his ^ead." A full account of this will be found in that repertory of mediaeval :xnedical lore, the ' Speculum Lapidum * of Camillo, who, as physician to ~£orgiaf ought to know something about poisons. He describes it by the 'Xiames of Borax, Nosa, and Crapondinus, and as being found in the brains of a newly- killed toad. There are two kinds, the white, which is the best, and the dark with a bluish tinge with the figure of an eye upon it. If swallowed it was a certain antidote against poison, in its passage through the boWels driving out all noxious matters before it Many Toad-stones are still preserved in collections of mediaeval jewels, set in silver rings, the metal appropriate seemingly to that purpose, being generally prescribed for the setting of all amulets. I have lately had an opportunity of examining several of these toad-stones, some in their original settings, some extracted. They are hemispherical, elliptical, or oval, hollow within, of an apparently petrified bony substance, whity brown, or variegated with darker shades. The true, but very recent explanation of their origin is, that they were the bony embossed plates lining the palate or the jaws, and serving instead of teeth to a fossil fish, an arrangement observable in the recent representations of the same species.* Erasmus, in his Peregrinatio Religionis ergo, quoted by Mr. King, describes a famous toadstone which was at the feet of the image of the Virgin at Walsingham and had a symbolical significance. In one of the additions of Batman to Bartholome De Proprietatibus rerum (fol. 3516), is an account which requires some amount of faith to accept. • Bufo the Toade, whereof are diners kindes : some Toads that breed in Italy and about Naples, haue in theyr heads, a stone called a Crapo, of bignes like a big peach, but flat, of colour gtay, w.^ 21 \itQw\vt ^Y^\.\si. "^^ H 2

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lOO yOTES, [act h. nudst, vdd to be of Tcrtne. la r'rncs past, dier were mcch wome, and rsed in ritigfs, as the fbrevammg against Tcnxmc' In this account * peach ' is probably a miiprint for * pcaic,' for in the index we nnd as the descriptioa of the cotiteots of the chapter from which the abore is taken, ' Of the Rubeta or Frog and ot the toades stooe. as beg as a pease, and not as a peach.* Compare Ljij'i Eophoes led. Arfacr;, p. 53^ 'The foole Toade hath a hat stooe in his head/ Nares quotes Ben Jonson, The Fox, n. 3 : 'Or were jon enamoored on his copper imgs. His safiron jewel with the toadstooe in't?' For fbrther information on this subject see Topsell's History of Serpents (ed. 1658), p, 727, where the manner of taking the stone fr

sc. 1.] AS YOU LIKE IT, 101 •Where, feareless of the Hunt, the Hart securely stood, And euery where walkt free, a Burgesse of the Wood/ In Lodge's novel (p. 93), the deer are called in a sonnet • the citizens of wood/ 24. confines. For the accent see Hamlet, i. i. 155 : •The extravagant and erring spirit hies To his confine/ lb. with forked heads. For the distinction between the forked and broad arrow heads see the quotation from Ascham in the note to King Lear, i. 1. 135. A forked arrow was not, as Steevens says, a barbed arrow, but just the contrary. • Commodus the Emperoure ysed forked heades, whose facion Herodiane doeth lyuely and naturally describe, sayinge that they were lyke the shap of a new mone wherwyth he would smite of the heade of a birde and neuer misse/ (Ascham, Toxophilus, ed. Arbcr, p. 136.) 31. antique, ancient. The accent is always on the first syllable in Shakespeare. See ii. 3. 57, and Hamlet, v. 1. 352 : * I am more an antique Roman than a Dane/ 36-40. It was a common belief that the hunted deer shed tears at his own death. Malone refers to a passage in Drayton's Polyolbion, xiii. II. 160, 161 : * He who the Mourner is to his owne dying Corse, Vpon the ruthlesse earthe his precious teares lets fall/ The marginal note is : * The Hart weepeth at his dying : his teares are held to be precious in medicine/ See also Batman vppon Bartholome, xviii. 30 : •And the Hart roareth, cryeth, and weepeth when he is taken/ Again, Sidney's Arcadia (cd. 1598), p. 34. 44. moralize. This usage of the word is well illustrated by the following from Cotgrave (Fr. Diet.) : * Moraliser. To morrallize, to expound morrally, to give a morall sence vnto.' Hence it came to signify, to expound or interpret generally, as in Lucrece, 104 : * Nor could she moralize his wanton sight.' 46. i»/o, changed by Pope to * in.* 76. the needless s/r^am, which already had enough. Steevens compares A LfOver's Complaint, 38-40 : 'Which one by one she in a river threw, Upon whose weeping margent she was set; Like usury, applying wet to wet.' 50. of after past participles, before the agent, is used where we now employ 'by.' See Abbott, § 170. Ih. his velvet friends, who are sleek and prosperous. 58. inveetivdy, in bitter, railing terms. ' 59. ihs ma^y. The Erst folio omits * the,* vi\i\c\\ nj^% ^^At^ Nsw "^^

102 NOTES. [act II. later editions. Malone defended the omission, reading ' country ' therefore as a trisyllable, and even so making but halting metre. 62. to kill them up. For this intensive use of * up * compare * flatter up,* Love's Labour *s Lost, v. 2. 824, and B. Jonson, Every Man out of his Humour, i. i: * Whereas a wholesome and penurious dearth Purges the soil of such vile excrements. And kills the vipers up/ Also King John, iv. 3. 133 : 'Enough to stifle such a villain up/ And Hamlet, v. i. 299, Love's Labour's Lost, iv. 3. 305 : * Why, universal plodding poisons up The nimble spirits in the arteries/ Caldecott quotes from More's Utopia, trans. Robinson (ed. Arber, p. 1^^) ' * The remembraunce of theire poore indigent and beggerlye olde age kyll** them vp'; and Ascham's Toxophilus (ed. Arber, p. 82): 'The might ^* theyr shootynge is wel knowen of the Spanyardes, whiche at the tcy^^^ called Newecastell in lUirica, were quyte slayne vp, of the turkes arrowes67. to cope him, encounter him. Compare Troilus and Cressida, i. 2. 3^ * *They say he yesterday coped Hector in the battle and struck him dowrx68. matter^ good stuff, sound sense. Compare Lear, iv. 6. 1 78 : * matter and impertinency mix'd.* Scene II. 8, royniskj literally scurvy ; from French rogneux. Hence coarse, rotJ^*** Cotgrave gives ' Rongneux . . . Scabbie, mangie, scuroie.* The contemptu^*'^ phrase in Macbeth, i. 3. 6, ' the rump-fed ronyon,' had probably the saO^^ origin. In Halliwell's Dictionary the following is quoted from Tusser, Fi^^ Hundred Points of Good Husbandry (ed. Mavor), p. 289 : * The sloven and the careless man, the roynish nothing nice. To lodge in chamber, comely deckt, are seldom suffered twice.* Tyrwhitt, in his Glossary to Chaucer, under the word * roignous/ refers tc^ two passages in the Romaunt of the Rose, 988 : * The foule crooked bowe hidous. That knottie was, and all roinous.' And 1. 6190 : 'This argument is all roignous. It is not worth a crooked brere/ In the form * rinish,* signifying ' wild, jolly, unruly, rude,* it is found among the Yorkshire words in Thoresby's Letter to Ray, reprinted by the English Dialect Society. ' Rennish ' in the sense of * furious, passionate,* which is in Ray's Collection of North Country WoTds,\s^«\\^^ ^iwother form of the same. 10, Hisperia^ the reading of the £o\\os, 'v*.^ tV'M\^«&^ Vj^^-a.^^^Nsss^.v^ Hesperiai.

8C. 3.] AS YOU LIKE IT. 103 10. princess. The folios have * Princesse.* See note on i. 2. 149. 13. turestler, a trisyllable. Compare Coriolanus, i. i. 159: * You, the great toe of this assembly.* And Two Gentlemen of Verona, i. 3. 84 : * O, how this spring of love resembleth The uncertain glory of an April day.* 17. his brother. Mason conjectured *his brother's ' because * that gallant ' is Orlando. 19. suddenly, speedily. Compare Psalm vi. 10 ; * Let them return and be ashamed suddenly.' 20. inquisition, enquiry. Compare The Tempest, i. 2. 35 : * You have often Begun to tell me what I am, but stoppM And left me to a bootless inquisition.' lb. quail, fail or slacken. Compare Holinshed (quoted by Capell), vol. ii. p. 859, ed. 1577: *Thus all the kings exploytes by one meanes or other quailed and came but to euill successe.* Cotgrave (Fr. Diet.) has * Alachir. To slacken ; to hang flagging downeward ; to slip, or fall downe, by weakenesse, out of it place ; to quaile, fade, fayle, decay in strength ; grow loose, feeble, weake.' 21. bring again, bring back. This use of • again,' is very common in the Authorised Version. Compare Deut. i. 22. Scene III, 5. memory, memorial ; as in Lear, iv. 7. 7 ' •These weeds are memories of those worser hours.* And in the Communion Service, * a perpetual memory of that his precious death.* 7. so fond to, so foolish as to. For the omission of * as * see note on i. 3. 62. * Fond ' is contracted from * fonned * or * fonnyd.* The latter form occurs in Wiclifs version of i Cor. i. 27 (ed. Lewis), where * tho thingis that ben fonnyd ' is the rendering of * quae stulta sunt.' The former is found in the second of the Wicliffite Versions, edited by Forshall and Madden, i Cor. i. 20, * Whether God hath not maad the wisdom of this world fonned ? ' where the Vulgate has ' nonne stultam fecit Deus sapientiam hujus mundi ? ' Hence ' fonnednesse ' in the same version is used for * foolishness.' * Fonned ' is derived from 'fon/ a fool, which occurs in Chaucer's Reve's Tale, I. 4087 : * II hail, Aleyti, by God I thou is a fon.' And * fon' is connected with the Swedish /dne, and perhaps with the Latin vanus. 8. 7%« hc^ * Warburton read 'hoDy*; but although this vras ado^U^Ni'^ \>^^^ ws.'^sx^

104 NOTES, [act 11. ground that Charles was in the previous scene called * sinewy/ it may be doubted whether in Shakespeare's time * bony ' signified * big-boned/ and whether a ' bony ' man would not rather mean a thin and skeleton-like man. * Bonny* occurs several times, once (Taming of the Shrew, ii. i. 187) spelt • bony* in the earlier copies. Compare 2 Henry VI, v. 2. 12 : 'And made a prey for carrion kites and crows Even of the bonny beast he loved so well.* 76. priser, prize-fighter, champion ; properly one who contends for a prize, as in Ben Jonson, Cynthia's Revels, iv. i : * Well, I have a plot upon these prizers.' Again, v. 2 : * Appeareth no man yet to answer the prizer ? * And in the same scene * Where be these gallants, and their brave prizer here ? * Ih, humorous. See i. 2. 249. 10. some kind of men. Compare Lear, ii. 2. 107 : * These kind of knaves I know.* Abbott, § 412. The first folio has the misprint * seeme' for *sonie.* 14* 1 5* t^hen what is comely Envenoms him that bears it, like the poisoned garment and diadem which Medea sent to Creusa, or the poisoned tunic of Hercules. 16. Why, what*s the matter f continued to Adam in the first folio. 17. within this roof, Capell proposed to alter * within ' to 'beneath,' unnecessarily. For ' roof* is by a common figure of speech used for • house,* as in Sonnet x. 7 '• * Seeking that beauteous roof to ruinate. Which to repair should be thy chief desire.* See also Beaumont and Fletcher's Love's Pilgrimage, iv. I : 'Come, gentlemen, you shall Enter my roof.* Dyce quotes Chapman, Homer's Odyssey, xiv. 279 : *He answered him; He tell all strictly true. If time, and foode, and wine enough acrue Within your roofe to vs,* &c. 26. practices, designs, plots. So in King John, iv. 3. 63 : * It is the shameful work of Hubert*s hand ; The practice and the purpose of the King.* 27. place, dwelling-place, residence. Compare A Lover's Complaint, 82 : * Love lack'd a dwelling, and made him her place.' Monck Mason thought that Adam means only to say, * This is no place foi you.* He justified his interpretation by referring to Fletcher's Mad Lover, i. 2: *Mem, Why were there not such women in the camp then, Prepared to make me know *em? ^um, 'Twas no place, sit.* y^, btachery, a sJaughter-house, bulc\i«'s s\ia.tc\>\t%\ >SiKfe ^x, VmtVwar\

JC3.] AS you LIKE IT. 105 la Baret's Alvearie (1580) we find, * Butcherie, Carnarium . . . Macellum ;' and in the later Wicliffite Version of i Corinthians x. 25 : * Al thing that issdd io the bocherie, ete Je, axynge no thing for conscience.' 36. subject, with the accent on the last syllable, as in The Tempest, i. 2. 114: •Subject his coronet to his crown and bend The dukedom yet unbow'd/ 38. a diverted blood, that is, as Johnson explains it, blood diverted &om the course of nature. * Blood * is used for passion in opposition to reason in Hamlet, iii. 2. 74. Here it denotes natural affection such as should accompany blood relationship. ^ 39. the thrifty hire I saved, the wages I saved by thrift. For examples , ofamilar uses of the adjective compare i. i. 34, ii. 7> 132 : •Oppressed with two weak evils, age and hunger,* that is, evils which cause weakness. And again, Macbeth, iii. 4. 76 *• *Ere humane statute purged the gentle weal,* ^ ^t is, the commonwealth which thereby became gentle. 4s. lie lame. It has been proposed to read ' be lame ' so as to suit the coortrtiction of the following line. 43, 44. Referring to Psalm cxlvii. 9, Matthew z. 29. 49. rebellious liquors in my blood. Capell proposed to read, 'to my Wood' connecting the preposition with the terb * apply.* But it rather ^qnds on * rebellious,* liquors which become rebellious in the blood. See Bote on 1. 39 above. 50. Nor did not. For the double negative compare Venus and Adonis, 409: *I know not love, quoth he, nor will not know it.* 57* antique. See ii. i. 31. 57» 58. The occurrence of the word * service * in these two lines caused Sidney Walker to suspect a corruption in the former. • Temper* and * favour* have been proposed for 'service* in 1. 57, and 'servants* or * duty* in 1. 58. 58. meed, reward. A.S. mid; compare Germ, miethe. 65. In lieu of, in return for. Compare The Tempest, i. 2. 123 : *In lieu o* the premises Of homage and I know not how much tribute.* 6$, Come thy ways. See i. 2. 191. 68. eonient, contented state. See i. 3. 134. 7*» ttventeen. The first folio has * seauentie,' the others * seventy.* Rowe ttide the necessary correction. 74* Aw IcUe a week. Delius interprets this as signifying a week too Ule^ Miewiuit too late, * a week* being used elsewhere {ot aiv m^^^vv\\fc ^\\ck^ 'sf^ *ft JMh miUweU (PhiUipps) quotes from HeywooeLS ^oxV.% ^^^^«

Io6 NOTES. [act n. Soc. cd. p. 74) : * And amend ye or not, I am to oldc a ycre.' But it seems more likely that * a week' is an adverbial phrase equivalent to * i' the week' See note on ii. 4. 45. Scene IV. I. weary. The folios have * merry.' Theobald made the correction. Whiter defends the old reading on the ground that Rosalind's merriment was assumed as well as her dress. But it is clear from the character of Touchstone's subsequent speeches that when he says * I care not for my spirits, if my legs were not weary,' he is playing upon something which Rosalind had said. 4. I could find in my hectrt, am almost inclined. Compare The Tempest, ii. 2. 160 : * A most scurvy monster ! I could find in my heart to beat him.' 5. the weaker vessel. See i Peter iii. 7, 6. doublet and hose, coat and breeches. According to Fairholt (Costume in England, p. 437), the name 'doublet' was derived * from the garment being made of double stuff padded between. . . . The doublet was dose, and fitted tightly to the body ; the shirts reaching a little below the girdle.* The same writer (p. 512) says of *hose,' * This word, now applied solely to the stocking, was originally used to imply the breeches or chausses.' 8. cannot go no further. See ii. 3. 50. The later folios read * can.' 9. bear with. The same play on * bear' and * bear with' is to be found in The Two Gentlemen of Verona, i. I. 125-128: *Pro. No, no; you shall have it for bearing the letter. Speed. Well, I perceive I must be fain to bear with you/ 10. 7 should bear no cross. A play upon the figurative expression in Matthew x. 38 ; a cross being upon the reverse of all the silver coins of Elizabeth. Compare 2 Henry IV, i. 2. 253 : *Fal. Will your lordship lend me a thousand pound to furnish me forth? Ch. Just. Not a penny, not a penny ; you are too impatient to bear crosses.' 28. fantasy f the earlier form of the word * fancy'; used in the sense in which it is found in iii. 2. 334. ' Fantasie' occurs in Chaucer's Merchant's Tale (C. T. 9451), in the margin of the later WicliflSte version of Josh. xxii. 19, and perhaps earlier still. 35. Wearing, that is, fatiguing, exhausting. So the first folio. * Wearying,' which is the reading of the later folios, gives the same sense, but the change is not necessary. 37. broke. See i. I. 77* 41. searching of in searching of, or a-searching of; * searching' being in reality a verbal noun. See ii. 7* 4*> Ltax \v. i. i^i ; Abbott, § 178.

sc. 4.] AS you LIKE IT. loy lb. thy wound. Rowe's reading. The first folio has *they would,' which was corrected, though imperfectly, in the later folios to * their wound.' 45. a-nigkt, at or by night. So in The Owl and the Nightingale, 219 : '])u singest a niht and noht a dai.' For other instances of the adverb in this form compare * a-land,* Pericles, ii. I. 31 ; * a-height,' Lear, iv. 6. 58 ; so also * alive,* * asleep,' were originally adverbial. The later folios read * a nights.* 46. batlet. So in the later folios, as a diminutive of * bat.' The first folio has * batler,* perhaps rightly, which is recognized in Halliwell*s Archaic and Provincial Dictionary, and defined by Johnson as the instrument with which Washers beat their coarse clothes. In Hartshome's Shropshire Glossary it appears as a batstaff or battleton. Mr. Robinson, in his Glossary of Words 'ised in the neighbourhood of Whitby (English Dialect Society) records * Batlet* or 'Battledore' and 'Bittle,* which signify the same thing, and * Battlingsteean' as * a large stone at the brook -side, upon which wet coarse clothes are beaten.' In the Lancashire Glossary (Nodal and Milner), *Battiill* is described as *a short staff; a batting staff used by laundresses.* See 3.1so Bamford*s Dialect of South Lancashire. The two forms * batler' and * batlet' as diminutives of *bat' may be compared with * lancer* (i Kings ^"viii. 28, ed. 161 1), and * lancet* as diminutives of * lance.* The form * lancet' is substituted in modem editions of the Authorised Version. lb. chopt, chapped. The spelling of the folios, as in Sonnet Ixii. 10, "^^here the quarto has 'Beated and chopt with tand antiquitie.' ^oth forra& of the word were used, the pronunciation being the same in ^ach case. Cotgrave gives * Crevasser. To chop, chawne, chap, chinke, *'ine, or cleaue asunder.* And in the Authorised Version of Jeremiah xiv. •^(ed. 1 611) we find, 'Because the ground is chapt, for there was no raine in the earth.' 47. a peascod. The peascod is the husk or pod which contains the peas, *3nt it here appears to be used for the plant itself. Palsgrave (Lesclarcisse*3ient de la Langue Francoyse) gives, 'Pescodde — escosse de poix.' The '^ord * cod * (A. S. codd) is said to be from the Welsh cod or cwd, a bag. ^or * cods * in 1. 48 Johnson conjectured * peas.' Among the additions in Bohn's edition of Brand's Popular Antiquities, ii. 99, the following illustra^on of the present passage is given : * The commentators on Shakespeare ^▼e entirely misunderstood a passage in the works of our great dramatic Fo*t, from not having been aware that our ancestors were frequently accustomed in their love affairs to employ the divination of a peascod, by selecting one growing on the stem, snatching it away quickly, and if the good omen

T08 NOTES. [actil * The peascod greene oft with no little toyle Hee'd seeke for in the fattest fertil'st soile. And rend it from the stalkc to bring it to her. And in her bosome for acceptance wooe her.* 49. with weeping tears^ that is, tears of sorrow. This affected phrase, which Shakespeare was very glad to hold up to ridicule, is found in Lodge's novel, p. 66 : * But weeping teares their want could not suffice.* 51. mortal in folly. Johnson refers to the provincial use of the word * mortal ' in the sense of excessive. This would give Touchstone an opportunity of indulging in his propensity for punning. * Mort ' in some dialects denotes a great quantity or number. 5a. wiser J more wisely. For examples of adjectives used as adverbs sec Abbott, § I. 76. ware^ aware. Compare Romeo and Juliet, i. I. 1 31 : * Towards him I made, but he was ware of me.' Touchstone in the following line plays upon the other meaning of * to be ware.' 56. upon my fashion, after or according to my fashion. See i. i. i, and Measure for Measure, iii. 2. 242 : * Much upon this riddle runs the wisdom of the world.' 58. yond^ originally a preposition or adverb (A. S. geond)^ appears as a demonstrative in the Ormulum, io6i2'(Koch, Historische Grammatik d. Eng. Sprache, ii. 248; Morris, English Accidence, § 181). Compare the Gothic jainsy that ; jaind, jaindre, and jainar, there ; and 'the Germ. jener, 62. Vour betters. Compare Sidney, Arcadia (ed. 1598), p. 67 : * For their ordinary conceipt draweth a yeelding to their greaters.* 69. And faints for succour, that is, for want of help. See ii. 6. I. We must either suppose that the nominative is omitted, as in i. i. i, or we must regard the participle * oppressed * as equivalent to * who is oppress'd.' . 73. the fleeces that I graze. * Fleeces * for * flocks * ; or else we must regard it as 'the fleeces of the sheep that, &c.* 74. churlishj miserly, penurious, like Nabal in I Samuel xxv. 3. Compare Romeo and Juliet, v. 3. 163 : * O churl ! drunk all, and left no friendly drop To help me after.* From A.S. ceorl, a clown, comes • churlish ' in the sense of rough, rude, as in ii. I. 7, and thence is derived the secondary meaning which it has in the present passage. 75. recks, cares. Compare Troilus and Cressida, v. 6. 26 : *J reck not though 1 eud m^ \\S^ \o-4a.^'\

SC.S.] AS YOU LIKE IT. IO9 where also, as in the present passage, the spelling of the first folio is * wreake.* la Hamlet, i. 3. 51, it is * reaks.' 77* cote^ a shepherd's hut, called a cottage in I. 86, and iii. 5. 106 ; used also for the fold itself. See iii. 2. 388. Compare a Chron. xxxii. 28 : * Stalls for all manner of beasts, and cotes for flocks.* And Chapman's Homer, II. xviii. 535 : *And cotes that did the shepherds keep From wind and weather.* Cotgrave has : * Cavenne de bergier : f. a Shepheard*s cote ; little cottage, or cabine made of turues, straw, boughes, or leaues.* Tb. hounds of feed, limits within which he had the right of pasturage. Sec iii. 5. 106. 81. in my voice, so far as my vote is concerned, so far as I have authority to bid you welcome. The phrase occurs in a slightly different sense in Measure for Measure, i. 2. 185 : 'Implore her in my voice that she make friends To the strict deputy.* 83. erewhiUj a short time since. See iii. 5. 104, and Midsummer Night's Dream, iii. 2, 274: * I am as fair now as I was erewhile.' 85. if it stand with, if it be consistent with. Compare Coriolanus, if. 3. 91 : * Pray you now, if it may stand with the tune of your voices that I may l>e consul, I have here the customary gown.* And Bacon, Advancement of laming, Bk. 2, vii. 2 (p. 112, Clar. Press ed.) : *I am otherwise zealous Md affectionate to recede as little from antiquity, either in terms or opinions, as may stand with truth and the proficience of knowledge.' 87. thou shall have (wherewithal) to pay for it. 9^. feeder, servant. See Antony and Cleopatra, iii. 13. 109 : * To be abused By one that looks on feeders.* So in Ben Jonson*s Silent Woman, iii. 2, Morose says, * Where are all my eaters? my mouths, now ? — • (Enter Servants.) Bar up my doors, you varlets.' In the present passage the word may mean a feeder of sheep, but the more general meaning is to be preferred. Sidney Walker conjectured 'factor,' that is, agent in negotiating the purchase. 94. suddenly. See ii. 2. 19. Scene V. 3. turn, altered by Rowe in his second edition to * tune,' which is supported by a passage in The Two Gentlemen of Verona, v. 4. 5, 6 : *And to the nightingale*s compUmmg t\o\.t% Tuae my distresses and recoid my vioes* •

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1 lO NOTES. [aci«. But Singer qnotes in defence of the old reading. Hall, Satires, ri. I. 195 : * A^liiles thred-bare Maztiall tunes his merrr note.' Dree considers this also to be a misprint for 'tones,* and 'tam a note' be explains as equivalent to * change a note.* C

8C.6.] AS you LIKE IT. Ill 35. to live r the sun, sl life of open-air freedom, which as opposed to the life of the ambitious man is also one of retirement and neglect. Hamlet seems to have had this in his mind when he said (i. 2. 67), * I am too much i* the sun' J and Beatrice in Much Ado about Nothing, ii. i. 331, 'Thus goes every one to the world but I, and I am sun-burnt/ that is^ exposed and neglected, like the bride in the Canticles, i. 6. See also Troilus and Cressida, i. 3. 283. 50. Ducdame, It is in vain that any meaning is sought for this jargon, as Jaques only intended to fill up a line with sounds that have no sense. There is a bit of similar nonsense in Cotgrave (Fr. Diet.) s. v. Orgues : * Dire d'orgues. vous dites d'orgues. You say blew ; how say you to that ; wisely brodier Timothie ; true Roger ; did am did am.* The metre is of course an imitation of the line of the song, * Come hither, come hither, come hither,* which rhymes with * But winter and rough weather,* and in consequence Mr. Ainger has suggested to me that we should read *Ducdo'me, Ducdo'me, Ducdo'me,* to rhyme with * An if he will' come to' me.' Dr. Farmer proposed to read * Ah if he will come to Ami,* that is, to Amiens ; but this secures a rhyme at the expense of the metre. 56. go sleep. Compare * go pray,' Hamlet, i. 5. 132, and see note. Also in this play * come see,' ii. 4. 80. ^y. firstborn 0/ Egypt. Exodus xii. 29. Johnson says it is a proverbial expression for high-born persons ; but its appropriateness is not self-evident, and if Shakespeare had, as seems probable, the passage of Exodus in his mind, the reference must be much more general. ^S. Jus banquet. The banquet was, strictly speaking, the wine and dessert after dinner, and it is here used in this sense, for Amiens says above, ' The duke will drink under this tree.' Compare Massinger, The Unnatural Combat, iii. i : •We'll dine in the great room, but let the music And banquet be prepared here.* And again, The City Madam, ii. i : * And most of the shops Of the best confectioners in London ransack'd To furnish out a banquet.' So also Macbeth, iii. 6. 35 : ' Free from our feasts and banquets bloody knives.* Scene VI. This scene is printed as irregular verse in the folios. J. for food, {at want of food. Compare ii. 4. 69, where *for succour* means for want of succour. a. Hei^i lie I down, &c. Steevens compares Romeo ^cckii Vci!asX^\vi« V'V^'*

\ lllij NOTES. [actil *And fall upon the ground, as I do now, Taking the measure of an unmade grave.' 5. comfort. We must either take * comfort* as equivalent to *be comforted * or * have comfort,' or else regard * thyself as the object to ' comfort* as well as * cheer.* 7. conceit^ fancy, imagination. Compare Hamlet, iii. 4. 114: 'Conceit in weakest bodies strongest works.* And Lear, iv. 6. 42 : *And yet I know not how conceit may rob The treasury of life.* 10. presently, immediately. Compare Matthew xxvi. 53. 12. Well said! well done ! Compare I Henry IV, v. 4. 75 ; * Well said, Hal 1 to it, Hal 1 Nay, you shall find no boy's play here, I can tell you !* 13. cheerly, cheerily. The first three folios spell the word 'checrcly.' Compare Richard H, i. 3. 66 : \^ *Not sick, although I have to do with death. But lusty, young, and cheerly drawing breath.' Scene VII, I. I think he be transformed. The subjunctive expresses doubt and uncertainty. Compare Othello, iii. 3. 384 : * I think my wife be honest, and think she is not.* And Hamlet, i. I. 108: *I think it be no other but even so.' See Abbott, § 299. 3. but even noiu, but just now. See Merchant of Venice, 1. I. 35. 4. hearing of. See ii. 4. 41. 5. compact of jars f composed of discords. Compare Venus and Adonii, 149: 'Love is a spirit all compact of fire.* *Jar' as a substantive is used elsewhere by Shakespeare, in the general sense of discord. Here there is a play upon the word. The verb several times occurs of musical discord. See Taming of the Shrew, iii. i. 39*:**5^'[fie[l the treble jars.' 6. discord in the spheres. The old belief in the music of the spheres is frequently referred to by Shakespeare. See Twelfth Night, iii. I. 131 : *I had rather hear you to solicit that Than music from the spheres.' And also Antony and Cleopatra, v. 2. 84; Pericles, v. I. 231 ; Merchant of Venice, v. i. 60-62. Compare Batman vppon Bartholome (ed. 1582), fol 123 b : * And so Macrobius saith : in putting

sc. 7.] AS YOU LIKE IT. II3 13. ^ motley fool. In Shakespeare's time the dress of the domestic fool, who formed an essential element in large households, was motley or particoloured. The word * motley' occurs in Chaucer's description of the Merchant (Prologue to Canterbury Tales, 271) : *A Marchaunt was ther with a forked herd, In tnotteleye^ and high on horse he sat.' Its etymology is uncertain ; some regarding it as a corruption of * medley,* others as derived from the Welsh mudliwy a changing colour. But Professor Cowell informs me that ntwtlai is one of the words expressly mentioned by Goronwy Owen as having been borrowed from the English by Ap Gwilym the great Welsh poet contemporary with Chaucer. 76. a miserable world t A parenthetic exclamation, in keeping with Jaques* cynicism. Hanmer, at Warburton's suggestion, read * varlet.* 19. Referring, as Upton pointed out, to the proverbial saying, • Fortuna favet fatuis.* Ray, in his Collection of English Proverbs, has * Fortune favours fools, or fools have the best luck.' Heywood (Works, p. 62, Spencer Soc. ed.) gives * God sendeth fortune to fooles.* Reed quotes the prologue to Ben Jonson's Alchemist : 'Fortune, that favours fools, these two short hours We wish away.* And Every Man out of his Humour, i. I : * Sog, Why, who am I, sir ? Mac. One of those that fortune favours. Car. The periphrasis of a fool.' 20. a dial. Knight, in his illustrations of this play, gives an account of a portable sundial, which may have been of the same kind as that which the fool- drew from his fob. * It is a brass circle of about two inches diameter: on the outer side are engraved letters indicating the names of the months, with graduated divisions ; and on the inner side the hours of the day. The brass circle itself is to bfe held in one position by a ring ; but there is an inner slide in which there is a small orifice. This sHde being moved so that the hole stands opposite the division of the month when the day falls of which we desire to know the time, the circle is held up opposite the sun. The inner side is of course then in shade ; but the sunbeam shines through the little orifice and forms a point of light upon the hour marked on the inner side.' But in other passages of Shakespeare in which a dial is mentioned it is said to have a point or hand. Compare Richard II, v. 5. 53 : *And with sighs they jar Their watches on unto mine eyes, the outward watch. Whereto my finger, like a dial's point, Is pointing still, in cleansing them from tears.' And again in i Henry IV, v. 2. 84 :

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iiz [ACTInt. ; ... Iiour.' fo;!,. •»-* present passage the tii a J, V. " *''i •»" hum hand oiix ^: he wore by his side ^<:c :="" f.="" a="" pocket="" pi="" or="" ajj:="" p.="" cd.="" dycc.="" niy="" poke.="">^'J both tra-sitiveiv and i-'• •-■■Jronicus. v. 2. S7: -> never WAtrs. I: --a Moor.' . N^ht's Dre.im. if. 2. 118: .'c not to reason.* 'v.' time.' inoralizcr in 0:he'Io. ii. 3.5CI: ":or.il' in the sense of nioralizif' . - :'st still, and criest \ j-resont passage also as an adjective'.'wo Gentlemen of Verona, ii. 1.25: •' j:o\v like a cock.' .. :o the readers of Reynard the Fox . !.-i.::ng of cap. v. is, * How Chantccle: V -» • T!ie Tempest, i. 2. 97. it is she«-:i • :•- I.. It. sine^ as certes from certe) ^^ ■ : !ip will be my bail. :\-.::vy ; it is not the wear.' .•19: 'Km the composition that your . . . ■ :■. 0 of a good wing, and I like the wear -. • ue.;: ' occurs as a verb in the sense of •. .■'i.oc:-. and the tooth-pick, which wear not . V. >a:rc iv. 86: 'Your only wearing is your k .uocc\«vw^\wvo\\,"^^^T\V3 ^\c^t£vthe exigencies

8C.7.] AS YOU LIKE IT. II5 Compare 2 Henry IV, ii. 1. 155, where, the hostess having pawned her plate, FalstaflF says, * Glasses, glasses, is the only drinking.* 39. dry as the remainder biscuit. Boswell quotes from Ben Jonson's ^vtrj Man out of his Humour [Induction] : *And, now and then, breaks a dry biscuit jest. Which, that it may more easily be chewed. He steeps in his own laughter/ *^ the physiology of Shakespeare's time a dry brain accompanied slowness of apprehension and a retentive memory. We read in Batman vppon BarthoJome, fol. 37 b, *Good disposition of .the braine and euill is knowne by his ^eedes, for if the substaunce of the braine be soft, thinne, and cleere : it 'eceiueth lightly the feeling & printing of shapes, and lykenesses of thinges. He that hath such a braine is swift, and good of perseueraunce and teaching. W'hen it is contrarye, the braine is not softe : eyther if he be troubled, he ^at hath such a braine receiueth slowly the feeling and printing of thinges : Hut neuerthelesse when hee hath taken and receiued them, he keepeth them ^ot)g in minde. And that is signe and token of drinesse, as fluxibility & forS^ting is token of moisture, as Haly sayth.' See Troilus and Cressida, i. 3. 329. 40. places, topics or subjects of discourse. Compare Bacon, Advancement ^f Learning, ii, 13, § 7 : * And we see the ancient writers of rhetoric do give ^"^ in precept, that pleaders should have the places, whereof they have most Continual use, ready handled in all the variety that may be.* 43. ambitious for. Compare for the construction Coriolanus, ii. I. 76: ^ou are ambitious for poor knaves' caps and legs.' 'Ambitious,' as would appear from the word * suit* in the next speech of Jaques, is here used with Something of the meaning of the Latin ambitiosus, going about as a can^date. 44. my only suit. A play upon the word as in iv. i. 76. 48. as large a charter as the wind, to blow where it listeth. Compare v'roilus and Cressida, L 3. 253, 'Speuk frankly as the wind'; and Henry V, i. 1.48: *When he speaks, The air, a charter'd libertine, is still.* 55. [Not /o] seem senseless of the bob. The words in brackets were %dded by Theobald to mend the limping metre and the halting sense. The old reading, with a slight change of punctuation, was defended by Whiter, "Who reads, * Doth, very foolishly although he smart, Seem senseless of the bob'; >od remarks, * That is, a wise man, whose failings should chance to be well miied by a simple unmeaning jester, even though he should be weak enough really to be hurt by so foolish an attack, appeaxs ^Vvjx^-^ vcv^VisWvfc q!v "^^ stroke/ More recently, the passage as \t stands m >^'& Vi\i.o% \sa& Vi\«A I 2

Il6 NOTES, [act a a defender in Dr. Ingleby, who classes this, in his Shakespeare Hermenentics or The Still Lion, p. 8l, among the lines which have been needlessly altered. He says, * Theobald, being conscious of a hitch in the sense, proposed ** Not to seem senseless " for " Seeme senselesse." In this lead he has been usuallj followed, even by the Cambridge editors. Had they seized the central notion of the passage, they would not have done so. Why does a fool do vnsely m hitting a wise man ? Because, through the vantage of his folly, he puts the wise man " in a strait betwixt two,** to put up with the smart of the bob, without dissembling, and the consequential awkwardness of having to do so — which makes him feel foolish enough — or, to put up with the smart, and dissemble //, which entails the secondary awkwardness of the dissimulation — which makes him feel still more foolish. Taking the former alternative, i.e. " If not ** (" If ke do not **), his " folly is anatomized even by the squandering glances of the fool ; ** taking the latter alternative, he makes a fool of himself in the eyes of almost everybody else. So the fool gets the advantage both ways.* In the first place, however, it is not said that the fool doth wisely in hitting a wise man ; but that if he hits him wisely, the blow oa the part of the fool being struck at random, a squandering glance, without any wisdom of intention, the wise man will do well to observe a c^tain line of conduct. Again, Dr. Ingleby's explanation would seem to require ' because he smarts * instead of ' although he smarts,* as shewing how it is that the wise man's dissimulation is foolish or awkward. If the wise man in his dissimulation very foolishly or awkwardly attempts to seem insensible to the jesting of the fool, his folly is anatomized or exposed as much as it possibly could be, and the contrast implied in the * If not * of the next sentence has no point. * If not,* that is, if he do not what is suggested, * the wise man*s folly is anatomized * or laid bare even by the extravagant and random sallies of the fool. The preceding sentence shews how this is to be avoided, which is by seeming insensible to the jest and laughing it off; for otherwise, if the wise man shews that he feels the sting, or even foolishly and awkwardly disguises his feeling, which is the only meaning of which the original text seems capable, his folly is equally exposed. Jaques gives this as the explanation of what he said in 50, 5 1 : *And they that are most galled with my folly. They most must laugh.* The reading of the folios is not an explanation but a repetition. lb. bob, a rap, a jest. Compare Cotgrave (Fr. Diet.) : * Taloche : f. A bob, or a rap ouer the fingers ends closed together.* 57. squandering, random, without definite aim. To squander is to scatter, and * scattering' is used very much in the same sense as * squandering' in the present passage in Othello, iii. 3. 151 : * Nor build yourself a trouble of his scattering and unsure observance/

5C7.] AS YOU LIKE IT. \l^ lb. glances, side hits. 63. for a counter t a worthless wager ; a counter being a piece of metal of no value, used only for calculations. See Troilus and Cressida, ii. 2. 28: • Will you with counters sum The past proportion of his infinite?' 66. the brutish sting, the impulse of the animal nature. Compare Othello, i. 3. 335 : * But we have reason to cool our raging motions, our carnal stings» our unbitted lusts.* 67. embossed. Compare Lear, ii. 4. 227: ' A plague-sore, an embossed carbuncle.' 76: headed evilSf like tumors grown to a head. Compare Richard II, v, 1.58: * Ere foul sin gathering head Shall break into corruption.' 71. tax, censure. See below, line 86 ; i. 2. 76; Hamlet, i. 4. 18. lb. any private party, or particular person. \ 73. Tili that the wearer's very means do ebb. The first folio reads *wearie verie,' which was modified by Pope to * very very,* a change which subsequent editors were content to adopt. Singer proposed * wearer's ' for *wearie,' a conjecture which Dr. Ingleby regards as one of the few that C2Q be cited with unqualified satisfaction. For the idea see Henry VIII, i. I- 83-85 : •O, many Have broke their backs with laying manors on 'em For this great journey.' Stnbbes, ia his Anatomie of Abuses (1583), Collier's reprint, p. 54, inveighs against the extravagance of costume in England in his day : ' And whether tliey have argente to mayntayne this geare withall, or not, it forceth not muche, for they have it by one meane or other, or els they will eyther sell or morgage their landes (as .they have good store) on Suters hill and Stangate hole, with losse of their ly ves at Tiburne in a rope.' 75. The city-woman, the citizen's wife. 76. ITu cost 0/ princes on unworthy shoulders. Compare 2 Henry VI, i. 3. 83 : •She bears a duke's revenues on her back.' 79. of ba^st function, holding the meanest office. 80. broMtery, finery. Compare Taming of the Shrew, iv. 3. 57 : * With scarfs and fans and double change of bravery.* Aid Sonnet xxxiv. 4 : •Hiding thy bravery in their rotten smoke.' ^l»free, innocent. As in Hamlet, ii. 2. 590 : * Make mad the guilty and appal 0\e iiet? jAadSL 2. 252 : ' Your majesty and we that have fiec so\A%,Vt \waLOwe&\i!s» "wAi

Il8 NOTES. [acta. 86. taxings censure. See above, 1. 71. 88. eatt eaten. For this form of the participle see Lear, i. 4. 174 : * Why after I have cut the egg i' the middle, and eat up the meat, the two crowns of the egg.* And Richard II, v. 5. 85. 89. Nor shall not. See ii. 3. 50. 90. Of what kind should this cock come of. For the repetition of the preposition see below, 1. 139 : * Wherein we play in.* And Coriolanus, ii. i. 18 : 'In what enormity is Marcius poor in?* Capell omitted the first 'of/ Rowe the second. 92. Or else, * Else * is redundant here, as in Lucrece, 875 : * Or kills his life or else his quality.' 93. civility, politeness, in a higher sense than it is used in at present. See iii. 2. 116, and Merchant of Venice, ii. 2. 204: *Use all the observance of civility.* And Midsummer Night's Dream, ii. I. 152. 94. my vein^ my disposition or humour. Compare Midsummer Night's Dream, iii. 2. 82 : t * There is no following her in this fierce vein,' 96. inland bred, bred in the interior of the country, in the heart of the population and therefore in the centre of refinement and culture, as opposed to those bom in remote upland or outlying districts. See iii. 2, 319. 97. nurture, education, good breeding. Compare The Tempest, iv. 1. 189: * A devil, a bom devil, on whose nature Nurture can never stick.' See also Lodge's Novel, p. 55 : * Oh, Saladyne, the faults of thy youth, as they were fond, so were they foule, and not onely discovering little nourtnre, but blemishing the excellence of nature.* 98. this fruit. See note on ii. 5. 58. 99. answered, satisfied. Compare Julius Caesar, v. I. I : ' Now, Antony, our hopes are answered.' 100. reason. Jaques was quite capable of punning upon 'reason' and * raisin,' as he had already done on * why * and * way,' and therefore Staunton conjectured that we should here read ' reasons.' See I Henry IV, ii. 4. 264. 104. and let me have it. For this use of 'and * in the sense of * and so* or ' and therefore* see below, 1. 135, and The Tempest, i. 2. 186 : * 'Tis a good dulness, And give it way.* 109. commandment, command. See Bacon, Advancement of Learning, I. 8. § 3 : * We see the dignity of the commandment is according to the dignity of the commanded : to have commandment over beasts, as herdmen have, is a thing contemptible : to have commandment over children, as schoolmasters have, is a matter of small honour: to have commandment over galley-slaves is a disparagement rather than an honour.* The word is printed in the folios with an apostrophe, * command'ment,' a relic of the

SC.7.] AS YOU LIKE IT. II9 quadrisyllable form of the word which exists in The Passionate Pilgrim, 418: * If to women he be bent, They have at commandement.* See note on the Merchant of Venice, iv. i . 447. 114. hnolVd, Cotgrave (Fr. Diet.) gives, * Carillonner. To chyme, or teowie, bells.' So also Palsgrave, * I knolle a belle. Je frappe du batant.* 118. my strong enforcement, that which strongly supports my peti* 125. upon command, in answer to your command, according to any order you may give ; and so, at your pleasure. So in The Taming of the Shrew, * v^ 3. 5, * upon entreaty * denotes, in answer to entreaty : * Beggars, that come unto my father's door, Upon entreaty have a present alms.' 128. Whiles, the genitive of* while,* as * needs ' of * need.* 132. two weak evils, age and hunger, that is, two evils which are the luses of weakness. For this use of the adjective, which the grammarians ill proleptic or anticipatory, attributing to the cause what belongs to the ^^ect, compare Macbeth, iii. 4. 76 : *Ere humane statute purged the gentle weal*; "^iat is, purged the commonwealth and made it gentle. 135. and. See above, 1. 104. 139. Wherein we play in. See above, 1. 90. lb. All the world's a stage. See Preface. * Totus mundus agit histrionem,* from a fragment of Petronius, is said to have been the motto ^n the Globe Theatre. Compare The Merchant of Venice, i. i. 78, 'Vhere Antonio calls the world * A stage where every man must play a part.* 143. At first. Capell reads * As first.* Another has proposed * Act £rst* 144. Mewling. Cotgrave gives, * Miauler. To mewle, or mew, like a cat.' 1 48. Sighing like furnace, as the furnace sends out smoke. Compare Cymbeline, i. 6. 66 : * He furnaces The thick sighs from him.* And Love's Labour's Lost, iv. 3. 140 : * I heard your guilty rhymes, observed your fashion. Saw sighs reek from you, noted well your passion.* Ih. woeful, expressive of grief. So Venus and Adonis, 836 : *She marking them begins a wailing note And sings extemporally a woeful ditty.* //a Fuli of strange oaths. Compare Hetii-y V, \\\. ^, ^%, ^ccx*" V^^

120 , NOTES. [acth. this they con perfectly in the phrase of war, which they trick up with newtuned oaths : and what a beard of the general's cut and a horrid suit of the camp will do among foaming bottles and ale- washed wits, is wonderful to be thought on.* lb. bearded like the pard^ with long pointed mustaches, bristling like a panther's or leopard's feelers. See note on The Tempest, iv. I. 257. * The Perde is called Perdus, as Isidore sayth, is the most swift beast, with many diuers coulours and rounde speckes, as the Panther, and reeseth [rushes violently] to bloud, and dyeth in leaping, and varyeth not from the Panther, but the Panther hath moe white speckes.' Batman vppon Bartholome, xviii. 83, fol. 376 6. 151. sudden^ hasty. Compare The Tempest, ii, I. 306, and King John, iv. I. 27 : ' Therefore I will be sudden and dispatch.' 156. saws, sayings, maxims. See iii. 5. 80 ; Hamlet, i. 5. 100: 'All saws of books, all forms, all pressures past.' And Lucrece, 244 : *Who fears a sentence or an old man's saw Shall by a painted cloth be kept in awe.* lb. modern^ commonplace, of every-day occurrence. See iv. I. 6; Macbeth, iv. 3. 1 70 : * Where violent sorrow seems A modem ecstasy,' And Antony and Cleopatra, v. 2. 167 : *Immoment toys, things of such dignity As we greet modern friends withal.' 158. pantaloon. The word and character were borrowed from the Italian stage. Todd in his edition of Johnson's Dictionary quotes from Addison's Remarks on several parts of Italy [Works, ed. 172 1, ii. 35] an account of the plays in Venice : * There are four standing characters which enter into every piece that comes on the stage ; the Doctor, Harlequin, Pantalone, and Coviello . . . Pantalone is generally an old CuUy, and Coviello a Sharper.' Torriano in his Italian Dictionary (1659) gi^w, * Pantalone, a Pantalone, a covetous and yet amorous old dotard, properly applyed in Comedies unto a Venetian.' St. Pantaleon was the patron saint of Venice. Capell quotes from a play called The Travels of three English Brothers, which was printed in 1607, a dialogue between an Italian Harlequin and Kemp the actor : • Harl. Marry sir, first we will have an old Pantaloune. Kemp. Some iealous Coxcombe. Harl. Right, and that part will I play.' Stcevens gives a stage direction from The Plotte of the Deade Mans Fortune, * Enter the panteloun and pescode with spectakles.*

sc. 7 J AS roU LIKE IT. 10,1 1 60. hose. See ii. 4. 6. 76. a world too wide. Compare All 's Well that Ends Well, i. I. 187 : *With a world Of pretty, fond, adoptions Christendoms.' And Skelton, The Bowge of Courte, 464 (vol. i. p. 47, ed. Dyce) : * It is a worlde, I saye, to here of some.' 163. hiSt its. The neuter possessive pronoun, although used, was of rare occurrence in Shakespeare's time. See note on The Tempest, i. 2. 95. 175. unkind^ unnatural. This literal sense of the word appears to be the most prominent here. Compare King Lear, iii. 4. 73 : 'Nothing could have subdued nature To such a lowness but his unkind daughters.' 178. Because thou art not seen, Warburton proposed, with an amount of confidence which is only equalled by the certainty that his conjecture is wrong, to read, 'Because thou art not sheen.' Johnson defended the old readii^g and gave the obvious sense of the passage, • thy rudeness gives the less pain, as thou art not seen^ as thou art an enemy that dost not brave us with thy presence, and whose unkindness is therefore not aggravated by insult.' Capell compares King Lear, iii. 2. 16 : * I tax not you, you elements, with unkindness ; I never gave you kingdom, call'd you children. You owe me no subscription.' 182. Then, heigh-ho, 8cc, 'Then' is Rowe's emendation for * The * of the folios. 187. Though thou the waters warp. In the A.S,weorpan, or wyrpan, from which * warp ' is derived, there are the two ideas of throwing and turning. By the former of these it is connected with the German werfen^ and by the latter with A. S. hweorfan and Goth, hvairban. The prominent idea of the English • warp * is that of turning or changing, from which that of shrinking or contracting as wood does is a derivative. So in Measure for Measure, i. l. 15, Shakespeare uses it as equivalent to 'swerve,' to which it may be etymologically akin : ' There is our commission, From which we would not have you warp.' Hence * warped ' = distorted in King Lear, iii. 6. 56 : 'And here's another, whose warp'd looks proclaim What store her heart is made on.' With which compare Winter's Tale, i. 2. 365 : ' This is strange : methinks My favour here begins to warp.' And All 's Well that Ends Well, v. 3. 49 : 'Contempt his scornful perspective did lend me Which warp'd the line of every other favout**

122 NOTES. [act. 11. sc. CTIn the present passage Shakespeare seems to have had the same idea in t».5s mind. The eflfect of the freezing wind is to change the aspect of the wat^^T, and we need not go so far as Whiter, who insists that * warp ' here means '^^o contract, and so accurately describes the action of frost upon water. -A. fragment from a collection of gnomic sayings preserved in Anglo-Saxon in tX^e Exeter MS. has been quoted by Holt White and repeated by subsequ^ "^^^ commentators under the impression that it illustrates this passage. Tln:^s impression is founded on a mistake. As it is quoted the sentence stana^ ^s thus, * winter sceal geweorpan weder,* which White readers * winter sh ^^U warp water.* But unfortunately * water ' is not mentioned, and the word ^ rendered is * weather,' that is, * fair weather,' and is moreover the subject

ACTiii. sc. I.] AS YOU LIKE IT, 1^3 ACT III. Scene I, 2. the better part, the greater part. Compare * all points,* i. 3. 113. 3. argument. See i. a. 26a. 4. thou present, that is, thou being present. Compare Richard II, i. 3. * Joy absent, grief is present for that time.* 6. Seeh him with candle, A reference to Luke xv. 8. 16. my officers of such a nature, whose especial duty it is. In modern usage, as compared with that of Shakespeare's time, * nature' and * kind* have been interchanged. Bacon in his Essay of Gardens speaks of * liUes of all natures.* 1 7. Make an extent upon his house and lands. * Upon all debts of record due to the Crown, the sovereign has his peculiar remedy by writ of extent ; which differs in this respect from an ordinary writ of execution at suit of the subject, that under it the body, lands and goods of the debtor may be all taken at once, in order to compel the payment of the debt. And this proceeding is called an extent, from the words of the writ ; which directs the sheriff to cause the lands, goods and chattels to be appraised at their full, or extended, value {extendi facias), before they are delivered to satisfy the debt.' Stephen's Commentaries on the Laws of England (sixth ed.), iv. 80. Lord Campbell (Shakespeare's Legal Acquirements) quotes this passage as an example of Shakespeare's * deep technical knowledge of law,' the writ extendi facias applying to houses and lands, zs fieri facias to goods and chattels, and capias ad satisfaciendum to the person. The word * extent' is used in the sense of a writ in Massinger, The City Madam, v. 2 : * I grant your person to be privileged From all arrests; yet there lives a foolish creature CalI'd an under-sheriff, who being well paid will serve An extent on lords* or lowns' land.* Compare also A New Way to pay Old Debts, v. I : * But when This manor is extended to my use, You*ll speak in an humbler key, and sue for favour.* 1 8. expediently, speedily, expeditiously. * Expedient ' is used for ' expeditious' in King John, ii. i. 60 : * His marches are expedient to this town.* And in Richard II, i. 4. 39: 'Expedient manage must be made.'

124 NOTES. [act Scene II. 2. thrice-crowned, ruling in heaven, on earth, and in the underworld ^^s Luna, Diana, and Hecate. The memorial lines are given by Johnson : ' Terret, lustrat, agit, Proserpina, Luna, Diana, Ima, superna, feras, sceptro, fulgore, sagittis/ Singer quotes from one of Chapman's Hymns (Hymnus in Cynthiam^^ * passage which may have been in Shakespeare's mind : •Nature's bright eye-sight, and the night's fair soul. That with thy triple forehead dost control Earth, seas, and hell.* Compare also Midsummer Night's Dream, v. I. 391 : * By the triple Hecate's team.' Hecate was frequently represented in ancient art with three heads. 6. character y inscribe. With a different accent in Hamlet, i. 3. 59 : * And these few precepts in thy memory See thou character.' 10. unexpressive, that cannot be expressed. Milton possibly had t passage in his mind in Lycidas, 1 76 : 'And hears the unexpressive nuptial song.* . See also The Hymn to the Nativity, 116. Words similarly formed a used by Shakespeare are ' directive' (Troilus and Cressida, i. 3. 356), *pl sive' (Hamlet, i. 4. 30), and • insuppressive* (Julius Caesar, ii. I. 134). lb. she, used for * woman,* as in Sonnet cxxx. 14: ' I think my love as rare As any she belied with false compare.* Compare Cymbeline, i. 3. 29 : 'The shes of Italy should not betray Mine interest and his honour.* And The Taming of the Shrew, iii. 2. 236 : ' I'll bring mine action on the proudest he That stops my way in Padua.* See also in the present scene, line 362. 14. naughty bad, worthless. The old English forms of the word an ndwiht, nd-ilhtf and ndht^ the same as *no whit' and the negative o •aught.' See i. i. 31. 16. vilcy spelt ' vild' in the folios. 20. Hast. For the omission of the pronoun compare Twelfth Night, ii ^ 3. 122 : 'Art any more than a steward?* 28. may complain of good breedings that is, of the want of good breeding-. See ii. 4. 6g., 3S' ^^^ on one side is explanatory o£ ' \\\-io?l&\&^^ wvditicA. o1^ ^axaw«^ u

sc-2.] AS rOU LIKE IT. 125 4^« parlous^ perilous, dangerous. See Richard III, ii. 4. 35 : * A parlous "°y ; where the quartos read * perilous.* The spelling represents the pronunciation. 43. JVo/ a whit. As * not* is itself a contraction of nawiht, or nawhit, *nota whit* is redundant. 44- tnockable, liable to ridicule. 4o- sHll, constantly. Compare Hamlet, ii. 2. 42: ' Thou still hast been the father of good news.* ^^ The Tempest, i. 2. 229: ' the still-vexM Bermoothes.* *"• fells f the skins of sheep with the wool on. Compare Lear, v. 3. 24, *^^ Macbeth, V. 5. 11: * My fell of hair Would at a dismal treatise rouse and stir As life were in 't.* potio (Ital. Diet.) has, * Velio, a fleece, a fell or skin that hath wooU on.' ■^§*in in Chapman's translation of the Georgics of Hesiod (ed. Hooper), i. 364: *In dales Th* industrious bee her honey sweet exhales. And fuU-fell'd sheep are shorn with festivals.' '^ Job ii. 4 the earlier of the WicliflSte versions has, * Fel for fel, and alle ^tngus that a man hath he shulde ^iue for his soule.' 51. a mution, a sheep. Like * beef,* the word is now only used of the ^^sh of the slaughtered animal. Cotgrave (Fr. Diet.) gives : * Mouton : m. ^ Mutton, a Weather ; also. Mutton.' Compare The Merchant of Venice, ^- 3. 168 : *As flesh of muttons, beefs, or goats.' 55. A more sounder instance. For the double comparative see The X*empest, i. 2. 439 : * The Duke of Milan And his more braver daughter could control thee.' 59. thou xoorms-meat. It is not impossible that this expression may have struck Shakespeare in a book which he evidently read, the treatise of Vincentio Saviolo (see v. 4. 83), in which a printer's device is found with the motto, * O wormes meate : O froath : O vanitie : why art thou so insolent.' 60. perpendt reflect, consider. An affected word put into the mouth of such characters as Polpnius and Ancient Pistol. Compare Hamlet, ii. 2. 105, and The Merry Wives of Windsor, ii. I. 119: •He loves the gallimaufry: Ford, perpend.' 65. God make incision in thee I As Heath explains, ' God give thee a better understanding, thou art very raw and simple as yet ; ' in allusion * to the' coinmoj] proverbial saying, conceirutvg a vti'j i^"^ l^Qr«^'^'iS.\>R. ^s^^^

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1 26 NOTES* [act m. to be cut for the simples.* The reference is to Ae old method of aire for most maladies by blood-kttiog. See Lore^s Labour 's Lost, ir. ^ 97 : * A feTcr in joor blood ! why, then incisioa Would let her out in saucers : sweet oii^jdsion I' Jb, raw, untrained, untutored. So in Richard II, iL 3. 42 : *I tender you my serrice. Such as it is, being tender, raw, and young.' 68. gladt that is, am gbd. lb. content vnth my harm, patient under my own misfortunes. 77. east, eastern, belongs to * Ind.' lb. Ind. Compare The Tempest, ii. 2. 61 : * Do you put tricks upon *s with savages and men of Ind, ha ? ' And for the pronunciation see Lovers Labour's Lost, iv. 3. 222 : *Like a rude and savage man of Inde/ where it rhymes with * blind.' 81. lined, drawn. The first three folios have * Linde,' the fourth • Lind.' Capell reads ' limn'd.* 83. face. So the folios. Sidney Walker, with great probability, conjectured * fair/ to correspond with the following. 84. fair, beauty. Compare Sonnet Ixxziii. 2 : * I never saw that you did painting need And therefore to your fair no painting set.' For other instances of adjectives used as substantives see Venus and Adonis, 589: 'Whereat a sudden pale, Like lawn being spread upon the blushing rose, Usurps her cheek.* And A Lover's Complaint, 95 : * Whose bare out-bragg'd the web it seem'd to wear.* In the present line Rowe in his second edition altered ' fair ' to ' face.' 86, 87. // is the right butter-women^ s rank to market, going one aft*^ another, at a jog-trot, like butterwomen going to market. This seems ^^ be the meaning if 'rank' is the true reading. It is open to the ratt»-^^ pedantic objection that it makes rank = file. But it may be used simply ^^ the sense of ' order.* Hanmer altered it to * rate,* and Grey for * rate market ' proposed to read * rant at market.* I am rather inclined to cc. '^ sidcr • rack' to be the proper word, and I would justify this conjecture the following quotations from Cotgrave's French Dictionary : * Amble : f. An amble, pace, racke ; an ambling, or racking pace ; smooth, or easie gate.' 'Ambler. To amble, pace ; racke ; to g^o e^v\^, vsx^ ^oao'VJal'^ away.* Ill Holme's Armoury (B. II. c. 10, p. itjO") * i^cV \%^vw&^t%s«.\\''' apace wherein the horse neither Tiots 01 ^m\^ts»\>^s^.^&\>«^c«^t».^sci^'t

sc. 2.] AS YOU LIKE IT. l^^ 92. Florio, in his Second Fnites, p. 179, has, *Cat after kinde will either hunt or scratch.* 94. Winter. So the third and fourth folios. The first and second have * Wintred/ which Mr. Grant White retains. Compare * azured ' in The Tempest, v. 1. 43, and perhaps * damask'd/in Sonnet cxxx. 5, quoted in note on iii. 5. 122. 96. sheafs gather into sheaves. See Cotgrave (Fr. Diet.) : * Gerber des javelles. To bind come of swath into sheaues : to sheafe vp come.' 102. false gallops the unnatural pace which a horse is taught to go; apparently the same as a canter or Canterbury gallop, said to be so called from being the pace adopted by pilgrims to the shrine of St. Thomas at Canterbury. Compare i Henry IV, iii. i. 135, where Hotspur says : * I had rather hear a brazen canstick tura'd. Or a dry wheel grate on the axle-tree; And that would set my teeth nothing on edge, Nothing so much as mincing poetry : 'Tis like the forced gait of a shuffling nag.' Puttenham (quoted by Caldecott) in his Arte of English Poesie (p. 76, ed. Arber) uses the term 'riding ryme' in speaking of Chaucer's verse in a manner which throws light upon the present passage : * His meetre Heroicall of Troilus and Cresseid is very graue and stately, keeping the staffe of seuen and the verse of ten, his other verses of the Canterbury tales be but riding ryme, neverthelesse very well becomming the matter of that pleasaunt pilgrimage in which euery mans part is playd with much decency.' Malone quotes from Nash's Apologie of Pierce Pennilesse, 4to. 1593 ' * I would trot a false gallop through the rest of his ragged verses, but that if I should retort the rime doggrell aright, I must make my verses (as he doth his) ran hobbling, like a brewer's cart upon the stones, and observe no measure in their feet.' See also Much Ado about Nothing, iii. 4. 94 : • Beat. What pace is this that thy tongue keeps ? Marg. Not a false gallop.' 106. graff. The old form of * graft,' from French greffer. Compare * hoise' and * hoist*; and see 2 Henry IV, v. 3. 3 : 'Nay, you shall see my orchard, where in an arbour we will eat a last year's pippin of my own firraffing.* Shakespeare also uses * graft,' as in Richard II, iii. 4. lOl : 'Pray God the plants thou graft'st may never grow.' 307. a tfiedlar. ' For the pun upon * medlar' compare Timon of Athens, *^- 3-307-309: * Apem. Dost hate a medlar? Tim. Ay, though it look like thee. Apem. An thou hadst hated meddlets sootvei \)cvo\5i iciw^^sxVw^Vs^^^ ^^J^seJf better now.* yi^, ihe earliest fruii, not because it npens sootve?X, lo\ xJcCx^ \^ -c^^^ '^

ia8 NOTES, [act in. with the medlar, but because it is rotten before it is ripe and so may be said to be in advance of other fruit. 109. rights true. See above, 1. 86, and Antony and Cleopatra, iv. 12. 28; • Like a right gipsy.' 113. a desert. So Rowe. The folios have simply 'desert.* Steeveni adopted Tyrwhitt's conjecture, * Why should this desert silent be?* 114. For^ because. Compare The Merchant of Venice, i. 3. 43 : ' I hate him for he is a Christian.* 116. civil sayings, the sayings or maxims of civilisation and refinement Johnson says, * This desert shall not appear unpeopled, for every tree shal teach the maxims or incidents of social life.* For * civil* in this sense compare Midsummer Night's Dream, ii. i. 152 : * Uttering su(ch dulcet and harmonious breath That the rude sea grew civil at her song.* And iii. 2. 147 of the same play ; * If you were civil and knew courtesy.* 119. erring^ wandering; not used here in a moral sense. See Hamlet i. I. 154; *The extravagant and erring spirit.* The word occurs in it! literal sense, though with a figurative reference, in Isaiah xxxv. 8 : * Th< wayfaring men, though fools, shall not err therein.* For 'wandering stars' ii the Authorised Version of Jude 13, the WiclifEte versions have *erriijg« sterres.* 120. That, so that. lb, a span. See Psalm xxxix. 6, Prayer Book Version/* Behold, thoi hast made my days as it were a span long.* 121. Buckles in, encompasses. So in Troilus and Cressida, ii. 2. 30 : *And buckle in a waist most fathomless With spans and inches so diminutive As fears and reasons.* 125. sentence end. For the omission of the mark of the possessive set below, line 237, and Abbott, § 217. 128. quintessence^ the fifth essence, called also by the mediaeval philo sophers the spirit or soul of the world, * whome we tearme the quinticense because he doth not consist of the foure Elementes, but is a certaine fifth, 5 thing aboue them or beside them .... This spirit doubtlesse is in a manne: such in the body of the world, as ours is in mans body : For as the power of our soule, are through the spirit giuen to the members : so the vertue o the soule of y« world is by the quintecense spread ouer all, for nothing i: found in all the world which wanteth the sparke of his vertue* (Batmai vppon Bartholome, fol. 173 a). See Hamlet, ii. 2. 321. 129. in little, in miniature. So in Hamlet, ii. 2. 383: *And those thai would mike mows at him while my falhei Uvcd, give twenty, forty, fifty, ar hundred duats a-piece for his pictuxt m \\\>Xt.*

Bc. 2.] AS you LIKE IT. 1 39 131, 8cc, Compare The Tempest, iii. I. 48 : *But you, O you, So perfect and so peerless, are created Of every creature's best I ' 136. AtdlarUa*s better part has given occasion to much discussion. Steevens was probably right in saying it was that for which she was most commended, but the question still remains what this was. In the story of Atalanta as told in Ovid (Met. x.), where Shakespeare may have read it in Golding's translation, it is clearly her beauty and grace of form which attracted her suitors to compete in the race with her at the risk of being the victims of her cruelty. For instance, Hippomenes, looking on at first with a feeling of contempt, begins to think the prize worth competing for: 'And though that she Did flie as swift as Arrow from a Turkic bow: yet hce More woondred at her beautie, then at swiftnesse of her pace. Her running greatly did augment her beautie and her grace.' (Qolding*s trans, ed. 1603, fol. 128.) It certainly could not have been her wit, as Dr. Farmer thought, for which she is not known to have been celebrated. In a subsequent passage indeed, Jaques compares the quickness of Orlando's wit to the swiftness of Atalanta's heels, but this is a very different thing. Malone made a curious mistake ; in supposing that Atalanta's lips were her better part, because in Marston*s i\ Insatiate Countess (Works, ed. Halliwell, iii. 107), he found, * Those lips were hers that won the golden ball,* evidently forgetting Venus and the judgement of Paris. Whiter is of opinion that Shakspeare may have had in his mind while writing this passage some pictures or tapestry in which were represented Helen, Cleopatra, Atalanta, and Lucretia. Such may very well have been the case, and it is known that cameos representing classical subjects were much in request. Pliny, in a passage quoted by Toilet, speaks of two frescoes at Lanuvium in his own time ' of ladie Atalanta and queene Helena, close one to the other, painted naked, by one and the same hand : both of them are for beautie incomparable, and yet a man may discerne the one of them to be a maiden by her modest and chast countenance * (xxxv. 3, trans. Holland). On an amethyst in the Berlin Museum is a figure of * Atalanta, looking back in the midst of the race to pick up the golden apple thrown down by her competitor, Hippomenes,' which Mr. King describes as * Greek work of the most perfect style ' (Horatii Opera, ed. King and Munro, p. 410). Kalander's pleasure! house in the Arcadia (Lib. i. p. 3, ed. 1598) was adorned with pictures, one of which was of Atalanta, *the posture of whose limmes was so liuely expressed, that if the eyes were the only iudges, as they be the only seers, one would haue sworn the very picture hadtviu,* K

130 NOTES. [act in. 137. Sadt grave, serious, with some reflexion of the more common meaning of the word. Compare The Merchant of Venice, ii. 3. 205 : 'Like one well studied in a sad ostent To please his grandam'; where * sad ostent ' is an assumed appearance of gravity or seriousness. 1 38-1 41. Shakespeare may have remembered the story of Zeuxis as told by Pliny (xxxv. 9, trans. Holland), ' that when hee should make a table with a picture for the Agrigentines, to be set up in the temple of luno Lacinia, at the charges of the citie, according to a vow that they had made, hee would needs see all the maidens of the citie, naked ; and from all that companie hee chose five of the fairest to take out as from severall patterns, whatsoever hee liked best in any of them ; and of all the lovely parts of those five, to make one bodie of incomparable beautie.* 139. Marston had apparently this passage in his mind when, after a similar enumeration, he wrote (Insatiate Countesse, i. I ; Works, ed. Halliwell, iiu 107): * Here they meete, As in a sacred synod.' 141. touches f traits. See v. 4. 27. 143. And I to live^ 8cc. The construction is loose although the sense is clear. We may regard the words as equivalent to * And that I should live &c. ;* or supply some verb from * would ' of the previous line, as if it were either * And I would live, or am willing to live, &c,* 144. pulpiter. The conjecture of Mr. Spedding, adopted by Dyce (ed. 2) and in the Globe edition, for the reading of the folios * lupiter,* which it is worthy of remark is not printed in italics as proper names usually are. 150. scrip. The pouch or scrip was as necessary a part of a shepherd's equipment as it was in David's time. See i Sam. xvii. 40. Compare Sackville's Induction (ed. 1587), fol. 209 a: * With staffe in hand, and scrip on shoulder cast. His chiefe defence agaynst the winters blast.' Cotgrave (Fr. Diet.) has, * Malette : f. A little male ; a budget, or scrip. Malette de bergier. A Shepheards scrip,* And in Lodge's novel (p. 70) Ganimede invites Rosader (the original of Orlando) thus: * Therefore, forrester, if thou wilt take such fare as comes out of our homely scrips, welcome shall answere whatsoever thou wantest in delicates.' 159, 160. h(yuj thy name should he hanged and carved^ was said to be hanged and carved. * Should ' is frequently used in giving a reported speech. In this sense it occurs in George Fox's Journal (p. 43, ed. 1 765), quoted by Dr. Abbott (§ 328), who says it indicates a false story: *The priest of that church raised many wicked slanders upon me: "That I rode upon a great black horse, and that I should give a fellow money to follow me when I was on my black horse."' Again in Ben Jonson, The Fox, ii. I :

sc. 2.] AS you LIKE 17. I3I *SirP, Pray you, what news, sir, vents our cKmate? I heard last night a most strange thing reported By some of my lord's followers, and I long To hear how 'twill be seconded. Per, What was't, sir? Sir P, Marry, sir, of a raven that should build In a ship royal of the king's.* 161. seven out of the nine days that a wonder usually lasts. Compare 3 Henry VI, iii. 3. 113, 114: * Glou. That would be ten days* wonder at the least, Clar, That 's a day longer than a wonder lasts.* 163, OH a palm-tree. Those who desire that Shakespeare shall be infallible on all subjects human and divine explain the palm-tree in this passage as the goat willow, the branches of which are still carried and put up in churches on Palm Sunday (see Brand's Popular Antiquities, i. 127, ed. Ellis). But as the forest of Arden is taken from Lodge's novel, it is more likely that the trees in it came from the same source. This is certainly the case with the * tuft of olives * in iii. 5. 74. Lodge's forest was such as could only exist in the novelist's fancy, for besides pines, beech trees, and cypresses, there were olives, figs, lemons and citrons, pomegranates and myrrh trees. The palm is mentioned, but not as a forest tree, and only in figures of speech; as for example, *Thou art old, Adam, and thy haires waxe white: the palme tree is alreadie full of bloomes * (Euphues Golden Legacie, ed. Collier, p. 50). 163. since Pythagoras* time. The doctrine of the transmigration of souls is referred to again by Shakespeare in The Merchant of Venice, iv. i. 13I, and Twelfth Night, iv. 3. 54-60. 164. an Irish rat. The belief that rats were rhymed to death in Ireland is frequently alluded to in the dramatists. Steevens quotes from Ben Jonson's Poetaster, To the Reader : •Rhime them to death, as they do Irish rats In drumming tunes.' Malone quotes from Sidney's Apologie for Poetrie [ed. Arber, p. 72]> • Though I will not wish vnto you, the Asses eares of Midas, nor to bee driuen by a Poets verses, (as Bubonax was) to hang himselfe, nor to be rimed to death, as is sayd to be doone in Ireland, yet thus much curse I must send you.* In Scot's Discovery of Witchcraft [Bk. iii. c. 15, p. 35, ed. 1665], quoted by Dr. Kingsley in Notes and Queries, ist Ser. vi. 591, the power of xnagic incantations is said to be claimed by the Irish witches : ' The Irishmen addict themselves wonderfully to the credit and practice hereof; insomuch as they affirm, that not only their children, but their cattel, are (as they call it) eye-bitten, when they fall suddenly sick, and tearm one sort of their Witches eyc-biters ; only in that respect ; yea and they will v^.

13^^ NOTES. [Acrin.' afErm, that they can rime either man or beast to death.' -Randolph, in tis play, The Jealous Lovers, v. 2 (p. 156, ed. Hazlitt), has a reference to the same belief: *If he provoke my spleen, I'll have him know I soldiers feed shall mince him, and my poets ^Shall with a satire, steep'd in gall and vinegar. Rhyme 'em to death, as they do rats in Ireland.' And Pope in his version of Donne's Second Satire, 1. 22 : *One sings the fair: but songs no longer move; No rat is rhymed to death, nor maid to love.' The supposed effect of music upon these animals will be present to the recollection of every one who has read Browning's Pied Piper of Hamelin165. Trow you, know you, can you tell. So Love's Labour's Lost, v. 2. 279 : * And trow you what he called me ? ' See Lear, i. 4. 234 : • For, yo^ know, nuncle, &c.,* where the quartos read * trow.' * Trow you who, &c.' ^ ' Who do you think, &c.' 167. And a chain, &c. This irregular and elliptical construction, in which * and ' does yeoman's service for many words, may be illustrated by the following from Goriolanus, i. i. 82: 'Suffer us to famish, and their storehouses crammed with grain.' And Cymbeline, v. 4. 179: * But a man th** were to sleep your sleep, and a hangman to help him to bed, I think he woiJ^^ change places with his officer. 1 70. Ray in his collection of Proverbs gives, * Friends may meet, b*** mountains never greet.' 171. Toilet quotes from Pliny, ii. 83 (Holland's trans.): 'There hap' pened once (which I found in the bookes of the Tuscanes learning) with*^ the territorie of Modena, (whiles L. Martins and Sex. lulius were Consu^O a great strange wonder of the Earth : for two hilles encountred togeth^*"* charging as it were, and with violence assaulting one another, yea and t^^ tiring againe with a most mightie noise.* There is of course no necessity f^^ supposing that Shakespeare had such a passage in his mind. 175. petitionary, imploring, entreating. See Goriolanus, v. 2. 82 : * I haV^ been blown out of your gates with sighs ; and conjure thee to pardon Roi**^ and thy petitionary countrymen.* 1 79. out of all hooping, exceeding the limits of all exclamations of wondc*"' Compare * beyond all hoe,' which occurs in the old play of Sir Thoma^ More published by the Shakespeare Society, p. 67. Similar expressions af^ * without all cry,* * out of all cry.' See Chapman, The Blinde Begger of Ale^t" andria (Works, i. p. ll) : * Oh mayster tis without all these, and without *^ crie.' And in The Taming of a Shrew, sig. (C4) verso : -' I thinke I shall burst myselfe With eating, for He so cram me downe the tarts And the . marchpames, ovil oi ^V\ cut*

sc. 2.] AS YOU LIKE IT. .T33 * Hooping,' the spelling of the early folios, was changed by Theobald to * whooping* both ' here and in Henry. V, ii. 2. 108, where the first folio has : ' That admiration did not hoope at them.* But the form * whoop ' was in early use. Cotgrave (Fr. Diet.) gives : *Hucher. To whoope, or hallow for; to call vnto.' And earlier still, in Falsgrave's Lesclarcissement de la Langue Francoyse (1530), we find, ' I whoope, I call. Je huppe . . . Whooppe a lowde, and thou shalte here hym bio we his home : huppe hault, et tu lorras corner.' 180. Good my complexion ! Rosalind appeals to her complexion not to betray her by changing colour. • Several very unnecessary conjectures have been made for the purpose of making clear what already seems plain. 181. a doublet and hose. See ii. 4. 6. 182. One inch of delay more is a Soutk'Sea of discovery, if you delay the least to satisfy my curiosity I shall ask you in the interval so many more questions that to answer them will be like embarking on a voyage of discovery over a wide and unknown ocean. Compare Donne's * Hymn to God, my God, in my sickness,' 1. 9 : * Whilst my physitians by their love ajr6 grown Cosmographers, and I their map, who lie Rat on this bed, that by them may be shown That this is my south-west discovery Per fretum fehriSy by these straits to dye.' 188. 7s he of God's making? or his tailor's? Compare Lear, ii. 2. 59, 60 : * You cowardly rascal, nature disclaims in thee : a tailor made thee.' Stephens in his Essayes and Characters (2nd ed. 161 5) has one * My Mistresse,' of whom he says : * Her body is (I presume) of God's making & yet I cannot tell, for many parts thereof she made her selfe' (p. 391). 193. Stay, wait for. So in the Authorised Version in the table of contents to I Samuel xiv. : * Saul, not staying the Priests answere, setteth on them.' See also Hamlet, v. 2. 24. 197. Speak, The folios have no comma, and it is perhaps not necessary. For the construction in this case compare Henry V, v. 2. 156 : * I speak to thee plain soldier.' And Twelfth Night, i. 5. 115 : 'He speaks nothing but madman.' See also below, I. 255. lb, sad brow, serious countenance. For *sad' see above, 1. 137, & compare Much Ado about Nothing, i. i. 185 : ' Speak you this with a sad brow ? * And 2 Henry IV, v. i. 92 : * O, it is much that a lie with a slight oath and a jest with a sad brow will do with a fellow that never had the ache in his shoulders I ' 204. Wherein went he 7 How was he dressed "i CorK^^xt '^^^^ ^^'^ about Nothing, v. I, g6: * Go anticly,' thai is, ate dttssfc^vci ^^^^'a»^'^^^ '='"^^~ tume. Again, Twelfth Night, iii. 4. 415;

134 NOTES. [act in. * And he went Still in this fashion, colour, ornament.' lb. makes. See i. i. 26. 308. Gargantud's mouth. Gargantua was the giant in Rabelais. Cotgrave gives in his French Dictionary, 'Gargantua. Great throat. Rab.' Steevens quotes from the registers of the Stationers* Company two items, shewing that in 159 a [April 6] was entered * Gargantua his prophesie,' and in 1594 [Dec. 4] * A booke entituled, the historic of Gargantua &c.* 309. To say ay and no. Compare Lear, iv. 6. 100. 215. atomies f the motes in the sunbeams. See iii. 5. 13. In Cockeram's Dictionarie (3rd ed. 1631) ' atomy' is defined as * A mote flying in the Sunnebeames : any thing so small that it cannot be made lesse.' Compare Romeo and Juliet, i. 4. 57, where Queen Mab*s carriage is described as ' Drawn with a team of little atomies.' lb. resolve^ solve. Compare Pericles, i. i. 71 : * As you will live, resolve it you.' And The Tempest, v. i. 348. 217. observance, observation, attention. 219. Jove's tree. See Virgil, Georgics, iii. 332 : * Sicubi magna Jovis antiquo robore quercus Ingentes tendat ramos.' 220, 221. drops forth such fruit. The first folio omits * such,' which is necessary to the sense, and is supplied in the later editions. Sec iv. 3. 34, 224, 5. it well becomes the ground, that is, the background of the picture. Steevens compares Hamlet, v. 2. 413 : ' Such a sight as this * Becomes the field, but here shows much amiss * : but * field' in this case means * battle-field.' 226. Cry holla to, check, restrain, a term of horsemanship. Cotgrave has, • Hol^. (An Interiection) hoe there, enough, soft, soft, no more of that if you love me ; also, heare you me, or come hither. Faict au hola. Dutifull, obseruant, readie, at a becke, at call. Faire le hola. To stop, stay, interrupt, bid stand ; also, to part a fray.* Compare Venus and Adonis, 284 : * What recketh he his rider's angry stir. His flattering "Holla," or his "Stand, I say'*?' lb. thy tongue. Rowe's correction. The folios have * the tongoe.* 227. furnished, equipped, dressed. See Epilogue, 1. 8. 228. to hill my heart. Spelt * Hart' in the folios. For the pun comptie Twelfth Night, iv. 1. 63 : *Beshrew his soul for me. He started one poor heart of mine in thee.' And Julius Caesar, iii. i. 208 :

8C. 2. J AS rOU LIKE IT. 1 35 *0 world, thou wast the forest to this hart, And this, indeed, O world, the heart of thee.' 229, 230. hringest me out of tune. See below, 1. 233. 230. without a burden. * The burden of a song, in the old acceptation of the word, was the base, foot, or, under-song. It was sung throughout, and not merely at the end of a verse * (Chiappell, Popular Music of the Olden Time, p. 122). See note on the Tempest, i. 2. 381. The old spelling is ' burthen.* 233. You bring me out^ you put me out, make me forget my part. So Love's Labour's Lost, v. 2. 171 : *They do not mark one, and that brings me out.' Compare B. Jonson, Every Man out of his Humour, Induction : * I am unperfect, and had I spoke it, I must of necessity have been out.' 236. lief. See i. i. 132, and Much Ado about Nothing, ii. 3. 84: * I had as lief have heard the night-raven.* 239. God be wV you. Printed in the folios * God buy you,* which we have still further changed to * good-bye.' 243. moe. The reading of the first folio, although two lines before it has * more * as the later folios have here. In Anglo-Saxon we find both ma and mara, corresponding to * mo * or * moe,* and * more.' Alexander Gil distinguished them by making • moe * the comparative of * many* and ' more ' the comparative of* much' (Koch, Historische Grammatik d. Engl. Sprache, ii. 209). But Butler (1633) gives both * moe* and *more* as comparatives of * many.* In the Authorised Version of 16 11 * moe' frequently occurs (as in Ex. i. 9 ; Num. xxii. 15, xxxiii. 54; Deut. i. 11), but is changed in modern editions to * more.* The distinction appears to be that * moe * is used only with the plural, * more * both with singular and plural. •46.71/5/, just so, exactly so. So in Much Ado about Nothing, v. i. 164 : * " Nay,** said I, " a good wit." " Just,'* said she, ** it hurts nobody.*' ' 253. conned, learnt by heart, as a' player his part. So in Midsummer Night's Dream, i. i. 102 : * Here are your parts : and I am to entreat you, request you and desire you, to con them by tomorrow night.' 254. rings. References to the posies in rings are to be found in Hamlet, iii. 2. 162, and The Merchant of Venice, v. i. 148. They were written on the inside in the i6th and 17th centuries and on the outside in the 14th and 15th centuries (Fairholt, Costumes in England, p. 568). Compare Lyly's Euphaes (ed. Arber), p. 221 : * Writing your iudgments as you do the posies in your rings, which are alwayes next to the finger.' For specimens of them see Fairholt's Rambles of an Archaeologist, pp. 142, 143. 355. right painted cloth. For * right' compare 1. 86, above. Hangings for rooms were made of canvas painted with figures and mottoes or moral sentences. The scenes were frequently of scripture sub\etl%. Q,q.\s\^"«^ I Henry IV, iv. 2. 28: * Slaves as ragged as l.%7.«x\x& vd ^^ ^vox^^ ^caf^l

136 NOTES. [actAnd Lucrece, 245 : *Who fears a sentence or an old man's saw Shall by a painted cloth be kept in awe.' Again in Randolph, The Muse*s Looking-glass, iii. i (p. 218, ed. Hazlitt^ * Then for the painting, I bethink myself That I have seen in Mother Redcap's hall. In painted cloth, the story of the Prodigal.' The story of the Prodigal was a favourite one both for painted cloth and ^ puppet-shows. See note on i. I. 34, and 2 Henry IV, ii. i. 157: 'And f thy walls, a pretty slight drollery, or the story of the Prodigal, or the Germ '* hunting in water-work, is worth a thousand of these bed-hangings and tti^ fly-bitten tapestries.' 260. no breather, no living being. So in Antony and Cleopatra, iii. 3. 2 • *She shows a body rather than a life, A statue than a breather.' And Sonnet Ixxxi. 12 : * When all the breathers of this world are dead.' 282-4. Compare Richard II, v. 5. 50-58, for the same fancy. 291, 296. trot . . . ambles. Hunter proposed to exchange these terni.s the questions and corresponding answers. But the following definition ff^ Holme's Armoury, B. II. c. 7, p. 150, justifies the original arrangeme*^ * Trot, or a Trotting Horse, when he sets hard, and goes of an un^^ rate.' The point is not that Time goes fast, but that it goes at an uu^^ pace, and therefore seems to be slow. Compare for the same idea \tiJ Ado about Nothing, ii. i. 372: * Time goes on crutches till love have his rites.' 294. a se'nnigkt or sevennight, a week. An old mode of reckoci* which still survives in provincial dialects : A.S. seofon-niht. We retain it * fortnight ' = fourteen night. Compare Much Ado about Nothing, ii. I. 3 7* Not till Monday, my dear son, which is hence a just seven-night.' 295. year. Sec note on The Tempest, i. 2. 53. The fourth folio ^' * years.' 313. native as applied to persons is always an adjective in Shakespea^* Compare Hamlet, i. 4. 14: •Though I am native here And to the manner born.' 314. cony, rabbit; Fr. connil, for which Cotgrave gives as the EngHsli equivalents, * A Conie, a Rabbet.* Both words are apparently used without any distinction, and of both the etymology is uncertain. * Cony * may be traced through the Fr. connil and Ital. coniglio to the Latin cuniculus, but beyond this nothing is known. 16. leindled, iht. technical tetm fot t\ve VvVVexm^ o? x^bbits. See Pakgrave, Lesc/arcfssement de la lang\ie¥iaivco^^\*W>ju^^\^,^%^ia&\asR.«

•• 2.] AS YOU LIKE IT. 1 37 ^«^y dothe whan they bring forthe yonge. Je fays des petis.* In the later ^ the Wicliffite versions of Luke iii. 7. genimna viperum ib rendered ' kynd•^^^gis of eddris.* From A.S. cennan, to bring forth. 316. purchase, acquire. Compare The Tempest, iv. i. 14 : * Then, as my gift and thine own acquisition Worthily purchased, take my daughter.' ^Od I Timothy iii. 13: *For they that have used the office of a deacon ■^^11, purchase to themselves a good degree.' lb. removed, remote, retired. See Hamlet, i. 4. 61 : * It waves you to a more removed ground.' ^iid Measure for Measure, i. 3. 8 : * My holy sir, none better knows than you How I have ever loved the hfe removed.* 317. of=hy. See ii. 2. 50. 318. religious, that is, a member of some religious order. Compare v; 4. 152, 173. So in Richard II, v. i. 23 : * Hie thee to France, And cloister thee in some religious house.* 319. inland. See ii. 7* 96. lb. courtship, used in the double sense of courtly and graceful manners and of paying court or wooing. See Love's Labour's Lost, v. 2. 363 : *Trim gallants, full of courtship and of state.' 321. lectures. In the first folio * Lectors,' which probably represents the pronunciation of the time. In the same way in Bacon's Advancement of Learning (1605), p. 30, * verdure ' is spelt * verdor.' 326, 327. they were all like one another as halfpence are. No halfpence were coined in Elizabeth's reign till 1582-3. Bacon refers to * the late new halfpence * in the Dedication to the first edition of the Essays, which was published in 1 597. They all had the portcullis with a mint mark, and on the reverse a cross moline with three pellets in each angle, so that, in comparison with the great variety in coins of other denominations then in circulation, there was a propriety in saying * as like one another as halfpence are.' They were used till 1601. See Folkes, Table of Silver Coins, p. 57. 334. fancy-monger, love-monger, one who deals in love. For ' fancy* in this sense see iii, 5. 29, and Midsummer Night's Dream, ii. 1. 164: * In maiden meditation, fancy-free,* that is, free from the power of love. 336. the quotidian of love. A quotidian fever is one which is continuous as distinguished from an intermittent fever which comes in fits. Mr. Rushton in his Shakespeare's Euphuism, p. 90, quotes from Lyly's Euphues [p. 66, ed. Arber] : * Doubtlesse if euer she hir selfe haue been scorched with the flames of desire, $he wil be redy to quench thftCO?L\ft^V\\!cvcNaVK»L"^\\s.'aa.^'^^ \ if euer she hsiue bene attached of loue, s\ie mVL it^cxi^ V\\el^'>x>& ^^^^^^^

138 NOTES. [act tain desire : if euer she haue ben taken with the feuer of fancie, she will help his ague, who by a quotidian fit is conuerted into phrensie.' 337. love-skaked. For this form of the participle see Henry V,ii. 1. 134-" ' He is so shaked of a burning quotidian tertian, that it is most lamentable to behold/ 339. Tliere is followed by a plural. See Abbott, § 335. 343. a blue eye, not blue in the iris, but blue or livid in the eyelids, esp^ cially beneath the eyes. A mark of sorrow. Compare Lucrece, 1587: * And round about her tear-t^\x\:j, Make me crosse-arme my st\fc-, %\xv^7 vj-mw&\

8c. 2.] AS you LIKE IT. 1 39 Defie my hat-band; tread beneath my feet Shoo-strings and garters ; practise in my glasse Distressed lookes, and dry my liver up. With sighes enough to win an argosie.* 350. point-device y faultless, precise. Compare Love's Labour's Lost, v. I. 21: * I abhor such fanatical phantasimes, such insociable and point-device companions.' 351. accoutrements. The spelling of the folios, as of the early form of the French word, is * accoustrements.' In King John, i. I. 211, and Taming of the Shrew, iii. 2. 1 21, it occurs in the modern spelling. 358. still. See line 48. 362. that unfortunate he. See line lo. 366. a dark house and a whip. The more humane treatment of lunatics is a growth of the present century. Confinement in a dark room and violent usage was formerly their fete. Compare Twelfth Night, iii. 4. 148: * Come, we'll have him in a dark room and bound. My niece is already in the belief that he's mad.' Again, v. i. 350 : *Why have you suffered me to be imprison'd. Kept in a dark house, visited by the priest. And made the most notorious geek and gull That e'er invention play'd on.' And Comedy of Errors, iv. 4. 97 : * Mistress, both man and master is possessM ; I know it by their pale and deadly looks : They must be bound and laid in some dark room.* 373. moonishf changeable as the moon. 380. drave. For this form of the preterite see Exodus xiv. 25 : * And took oflf their chariot wheels that they drave them heavily.' 380, 381. from his mad humour of love to a living humour of madness. Johnson proposed to balance the sentence by reading * dying* for *mad,* or Moving* for * living.' But 'living* in the sense of real or actual gives a very good meaning, and its resemblance in sound is sufficiently near to keep up the jingle. • Compare Othello, iii. 3. 409 : * Give me a living reason she *s disloyal.* 384. wash your liver as clean as a sound sheep*s heart. The liver in ancient physiology was regarded as the seat of the passions. See The Tempest, iv. I. 56 : * The cold white virgin snow upon my heart Abates the ardour of my liver.' Compare the *jecur ulcerosum* of Horace, Od. i. 25. 15. The rest of the figure is in keeping with Rosalind's assumed chax^cX^i ^'& ^ ^'e^^\^,•»sA^^s» pfoptiety must not be too much insisted ou.

\ . y 140 NOTES. [act. m. Scene III. I. Audrey f a corruption of Etheldreda, as * tawdry laces * derive their name from being sold at the fair of St. Etheldreda, abbess of Ely, which was held on Oct. 17. 3. doth my simple feature content you f There is possibly some joke intended here, the key to which is lost. Malone quotes, but does not suggest that there is any reference to, Daniel's Cleopatra (1594) 1 * I see then artless feature can content. And that true beauty needs no ornament.' * Feature ' in Shakespeare's time signified shape and form generally, and was not confined to the face only. See The Tempest, iii. i. 52, and Richard III, i. I. 19: * Cheated of feature by dissembling nature.' 5, 6. It is necessary to observe, as it might not otherwise be obvious, that there is a pun intended on * goats ' and ' Goths,' and that this is further sustained by the word * capricious,' which is from the Italian capriccioso, humorous or fantastical, and this from capra^ a goat. It is no worse than the line in Much Ado about Nothing, ii. 3. 60 : * Note, notes, forsooth, and nothing.* As a slight justification it must be mentioned, throwing light also upon the pronunciation of the time, that in Love's Labour's Lost, iv. 3. 161, * You found his mote ; the king your mote did see,' *mote* is printed 'moth' in the old editions. The Goths were the Getac, Ovid having been banished to Tomi on the Euxine. 7, 8. Compare Much Ado about Nothing, ii. i. 99, 100: * D. Pedro. My visor is Philemon's roof; within the house is Jove. Hero. Why, then, your visor should be thatch'd.* The reference is to the story of Baucis and Philemon as told by Ovid, Metam. viii. 7. ill-inhabitidf ill-lodged. This must be the meaning, although it is not easy to say why. Steevens gives an example from the Golden Legende (ed. Wynkyn de Worde, 1527), fol. 196 a, in which * am enhabited* = dwell : * I am ryghtwysnes that am enhabyted here.' But there is no evidence that in Shakespeare's time ' inhabit ' was equivalent to * lodge ' in the active sense. II. a great reckoning in a little room, st, large bill for a small company. Warburton read * reeking.' 16. Compare Twelfth Night, i. 5. 206-8 : * Vio. Alas, 1 took great pains to study it, and 'tis poetical. Oli, It is the more like to be feigned.' 17. may be said. Collier, following Mason's conjecture, reads * it may be said.* The construction is coniMsed. ?>Vi«aRftv^e,^i^ mvj Vo.^^ Intended to continue the sentence * may be said to \>e ie\%^ftd*

8c. 3.] AS you LIKE IT. I4I 21. honest. See i. 2. 35. 26. material^ full of matter. See ii. i. 68. 31. fouly ugly ; of the complexion, as opposed to * fair.* See Venus and Adonis, 133: 'Were I hard-favour'd, foul, or wrinkled-old.' And Sonnet cxxvii. 6 : * For since each hand hath put on nature's power. Fairing the foul with art's false borrowed face. Sweet beauty hath no name.' 34. Sir Oliver Martext, The title *Sir* was given to those who had taken the bachelor's degree at a university, and corresponded to the Latin • Dominus ' which still exists in the Cambridge Tripos lists in its abbreviated form D«. So in the Merry Wives of Windsor we have Sir Hugh Evans, and in Love's Labour's Lost Sir Nathaniel. 40. stagger^ hesitate. Compare Merry Wives of Windsor, iii. 3. 12: • Without any pause or staggering take this basket.' Baret, in his Alvearie, s. V. Stut, gives, * to Stut : to stagger in speaking, or going : to stumble. Titubo.' Cotgrave (Fr. Diet.) has 'Hesiter. To doubt, feare, sticke, stammer, stagger (in opinion).' So in Romans iv. 20, Abraham *, staggered not at the promise of God through unbelief.' 41. what though f wjjatthen? what matters it? Con^)are Merry Wives of Windsor, i. i. 286 : * I keep but three men and a boy yet, till my mother be dead ; but what though ? Yet I live like a poor gentleman bom.' And, King John, i. i. 169: * Madam, by chance but not by truth; what though?' 42. necessary, unavoidable. So in Sonnet cviii. 1 1 : 'Nor gives to necessary wrinkles place.' 47. the rascal. The technical term for a deer lean and out of condition. Compare Drayton, Polyolbion, Song 13, 1^ 91 : *The Bucks and lusty Stags amongst the Rascalls strew'd. As sometime gallant spirits amongst the multitude.' Caldecott quotes from Puttenham's Arte of English Poesie (p. 191, ed. Arber) an instance of Catachresis, or the Figure of Abuse : * As one should in reproch say to a poore man, thou raskall knaue, where raskall is properly the hunters terme giuen to young deere, leane and out of season, and not to people.' The derivation is uncertain ; perhaps from the old French word rasque, scurf, so that * rascal ' is equivalent to scurvy, scabby, mangy, and other reproachful terms which have a similar origin. Somner (Dictionarium Sax. Lat. Anglicum) gives, 'Rascal. Fera strigosa. A lean or worthlesse Dear.' 48. more worthier. See iii. 2. 55. 5^. /Aaft /o want, that is, than the wanting 01 bevtv^ VvNyvowt ':>xve61. God 'ild you, God yield you, God tewwd ^om. t>CL^ ^^"^^^^ "^^"^

14a NOTES. [act m. ' goddild' or ' godild.* See v. 4. 52, Hamlet, iv. 5. 41, and Macbeth, i. 6. 13. In Antony and Cleopatra, iv. 2. 33; the full form occurs, *And the gods yield you for *tl' 62. a toy, a trifling matter. 63. be covered, put on your hat. Touchstone assumes a patronising air towards Jaques. Compare v. I. 17. 64. motley. See ii. 7. I3« 65. his bow, his yoke. Knight gives a representation of an ox yoke used in Suffolk, which is shaped like a bow. 66. her bells. So Lucrece, 511: *With trembling fear, as fowl hear falcon's bells.' The falcon is properly the female bird, the male being called tercel. See Troilus and Cressida, iii. 2. 55. Shakespeare once makes 'falcon' masculine in Lucrece, 507, but the gender of the pronoun in that passage may be explained by the fact that it refers to Tarquin, who is compared to a falcon. 74. but I were better, that it were not better for me. See notes on Hamlet, iL 2. 508, and The Tempest, i. 2. 367 (Clarendon Press editions). Si. O sweet Oliver, A fragment of an old ballad referred to by Ben Jonson. See Underwoods, Ixii. 70 : * All the mad Rolands and sweet Olivers.* Steevens says, * In the books of the Stationers' Company, Aug. 6, 1 584, was entered, by Richard Jones, the ballad of "O swete Olyuer Leaue me not behind the.' Again [Aug. 20], " The answeare of O sweete Olyuer." Again, in 1586 [Aug. i], " O sweete Ol3rver altered to ye scriptures.' 83. behind thee. Farmer proposed to read * behi ' thee,' and to make the rhyme complete * wi* thee' in 1. 87. Johnson would alter * wind* to * wend,* and would read * with thee to day.' But * wend' and * wind' are akin iu meaning as in origin, the notion of turning being radical in both. Steevens quotes from Caesar and Pompey, 1607 : *Winde we then, Antony, with this royal queen.* Compare the Scotch * win away ' = get away. 89. flout, mock, scoff. See i. 2. 42, and compare Coriolanus, ii. 3. 168 : * Sec, Cit, Amen, sir : to my poor unworthy notice. He mock'd us when he begg'd our voices. Third Cit. Certainly He flouted us downright.' n »

sc. 4,] AS you LIKE IT. 143 Scene IV, 7. Something browner than Judas's, Judas in the old tapestries is said to have been represented with a red beard. Compare Marston's Insatiate Countesse, act ii. (Works, ed. Halliwell, ili. 132) : *I ever thought by his red beard hee would prove a Judas ; here am I bought and sold/ 10. your. See v. 4. 58. 13. holy breads the sacramental bread. Tyndale in his Obedience of a Christian Man (Doctrinal Treatises, p. 284, Parker Society ed.), says, * For no man by sprinkling himself with holy water, and with eating holy bread, is more merciful than before, or forgiveth wrong, or becometh at one with his enemy, or is more patient and less covetous, and so forth.* Theobald, strangely misled by Warburton, reads * beard.' 14. cast, cast off. Compare Jeremiah xxxviii. 11, *old cast clouts and rotten rags.* And Gascoigne, The Steele Glas (ed. Arber, p. 80), *When hatters vse, to bye none olde caste robes.' The second and later folios read * chast.' lb. Diana, the goddess of chastity. Compare Much Ado about Nothing, iv. I. 58; * You seem to me as Dian in her orb. As chaste as is the bud ere it be blown.' And Timon of Athens, iv. 3. 387 : ! *Thou ever young, fresh, loved, and delicate wooer. Whose blush doth thaw the consecrated snow That lies on Dian's lap!' 15. ttfinter's. Theobald's usual acuteness appears to have deserted him in this scene, for he reads * Winifred's.' lb, sisterhood, an order of nuns ; as in Romeo and Juliet, v. 3. 157 : * Come, ril dispose of thee Among a sisterhood of holy nuns.' 23. a covered goblet, which having a convex top is more hollow than a goblet without a cover. a8. the word of a tapster. See Timon of Athens, iv. 3. 215 : ' Like tapsters that bid welcome To knaves and all approachers.' 31. question, conversation. See iii. 2. 344. 33. what, why. Compare Coriolanus, iii. 3. 83: *What do you prate of service ? ' 37. quite traverse, like an unskilful tilter, who breaks his staff across instead of striking it full against his adversary's shield and so splitting it lengthwise. This is again alluded to in Much Ado about Nothing, v. 1. 139 : *Nay, then, give him another staff: this last was broke ctQ«&.' ^^% '«^SK> All's Well that Ends Well, u. i. 70.

144 NOTES. [acti 76. his lover ^ his mistress. Compare Cymbeline, v. 5. 173 : * This Posthumus, Most like a noble lord in love, and one That had a royal lover, took his hint,* lb. puisny, inferior, unskilful; as a novice. Capell prints the word accordance with modem spelling * puny,' but *puisny* is the spelling of folios, and the term * puisne judges* is sufficiently familiar. Cotgrave (F Diet.) has * Puisn^. Punie, younger, borne after.' 39. a noble goose, Hanmer reads * a nose-quillM goose,* a phrase bo: rowed from falconry, which Steevens illustrates by a passage in Beaumont ai Fletcher, Philaster [v. 4] : * He shall for this time only be seel'd up, With a feather through his nose, that he may only See heaven.' No change is necessary, and this is only given as one of the curiosities conjectural emendation. 42. that complain* d of love. For the construction see iii. 2. 28, 43. Who. So the first folio. The others read * whom.' 47. the pale complexion of true love. Sighing, a common malady lovers, was supposed to take the blood from the heart. Compare Mi( summer Night's Dream, iii. 2. 96,97: * All fancy-sick she is and pale of cheer. With sighs of love, that costs the fresh blood dear.' 52. Bring us^ &c. The metre has been variously mended. Pope rea

sc. 5.1 AS you LIKE IT. 145 *With sorrow they both die and live That unto richesse her hertes yeve.* And from Barclay's Ship of Fooles (1570), fol. 6 b : ' He is a foole, and so shall he dye and Hue, That thinketh him wise, and yet can he nothing.* ' He that dies and lives by bloody drops ' is he whose whole> livelihood depends upon his exercising the office of executioner. 13. atomies. See iii. 2. 215. 17. swoon. The spelling of the folios is * swound,* but in iv. 3. 157 ^® find the modem form. Other varieties are * sound,' * swoond,* * swoun,' and * swown.' See v. 2. 25. 22. but. Added in the second folio, perhaps unnecessarily^ as broken lines are frequently defective in metre. 23. cicatrice, properly, the scar of a wound ; here, a mark, or indentation. The word is accentuated as in Hamlet, iv. 3. 62 : • Since yet thy cicatrice looks raw and red.* lb, capable impressure, sensible impression. Shakespeare uses * capable ' elsewhere, as he does * sensible,* in the active sense of * sensitive * ; as for example in Hamlet, iii. 4. 127 : 'His form and cause conjoin'd, preaching to stones. Would make them capable.' For * impressure * in the sense of impression, see Twelfth Night, ii. 5. 103 : ' Soft I and the impressure her Lucrcce, with which she uses to seal.* 25. some moment. *Some* was formerly used with singular nouns. Compare Ecclesiasticus vi. 8 : ' For some man is a friend for his own occasion.* 26. Nor . . , no. See Abbott, § 408, and compare Measure for Measure, ii. I. 241 : * But the law will not allow it, Pompey ; nor it shall not be allowed in Vienna.* 29. fancy. See iii. 2. 334. 33. mocks, mockeries, taunts. So Much Ado about Nothing, iii. I« 79 • * It were a better death than die with mocks.' 35. Rosalind steps forward. 36. and all at once, Staunton gives illustrations of this phrase from Henry V, i. i. 36 : * Nor never Hydra-headed wilfulness • So soon did lose his seat, and all at once. As in this king.* Again in Sabie*s Fisherman's Tale : * She wept, she cride, she sob'd, and all at once.* And Middleton's Changeling, iv. 3 : * Does love turn fool, run mad, and all at once ? ' The first of these examples is not to the pomt« miA. ». \^«t«o«». Vi ^^ ^"^^s^ I.

146 NOTES, [ACTm.sc. 5. would not have been necessary had it not been proposed to substitute for what gives a very plain meaning either * rail at once/ or * domineer.' 37. have no beauty. . Theobald reads * have beauty * ; Hanmer, * have some beauty * ; Malone, * have mo beauty ' ; and Mason conjectured * had more beauty/ But the negative is certainly required, because Rosalind's object is to strike a blow at Phebe's vanity. See below, 11. 51, 62. 39. without candle, not being so very brilliant. 43. of nature's sale-work, of what nature makes for general sale and not according to order or pattern. The modern phrase is * ready-made goods.' lb, 'OcTs my little life, a very diminutive oath, which so far approaches to the definition of an interjection as to be * an extra-grammatical utterance.*^ Compare * Od's my will * in iv. 3.17. * Od's ' is of course for * God's.' 47* ^^S^^i black, as beads of black glass which are called bugles. Com-' pare * bugle bracelet,' Winter's Tale, iv. 4. 2 24. 48. entame, subdue, render tame. Todd in his edition of Johnson'sDictionary quotes from Gower, Confessio Amantis, Book I. [vol. i. p. 66, ed. Pauli] : My sone, if thou thy conscience Entamed hast in such a wise/ lb. to your worship, to worship you. 50. foggy south. The south was the quarter of fog and rain. Compare Cymbeline, ii. 3. 136 : *The south-fog rot him !* And in the same play, iv. 2. 349 : • The spongy south.' 51. properer, handsomer. See i. 2. 108, and below, 114. 53. That makes. The verb is singular because the nominative is the idea, contained in what precedes, as if it had been * 'tis the fact of there beingjsuch fools as you that makes, &c/ 66. Rosalind turns first to Phebe and then to Silvius. Hanmer unnecessarily read * her foulness.' 76. foulness. See note on 'foul,' iit, 3. 31. 78, abused, deceived. See The Tempest, v. I. 112: * Whether thou be'st he or no, Or some enchanted trifle to abuse me.' 80. Dead shepherd, Christopher Marlowe, slain in a brawl by Francis Archer, i June, 1593, is the shepherd, and the verse is from his Hero and Leander, first published in 1598 : 'Where both deliberate, the love is slight: Who ever loved, that loved not at first sight/ lb. saw. See ii. 7. 156. 88. ex'ermined, exterminated. Fr. exterminer. Compare *extirp' and • extirpate/ 102. loose, let loose, let drop, like a sltay ew of corn. JO^. erewhiU, See ii. 4. 83. The sp«\\\u% ^l xJck^ ^%\ ^Cml^^ Wia\ Vi

ACT TV. 8C. T.J AS you LIKE IT, 147 * yerewhile.' So in the Authorised Version of 161 1, * ere * is spelt * yer ' in Numbers xi. 33, xiv. il. 106. the bounds. See ii. 4. 77' 107. carloty clown, rustic ; a diminutive of * carle' or * churl.* See ii. 4. 74* 109. peevish^ petulant. Cotgrave (Fr. Diet.) interprets * Proterve ' as * Froward, wayward, peruerse, curst, snappish, peeuish ; also proud, sawcie, malapert, arrogant, impudent/ 112. It is, &c. See i. i. 128. 122. €onstanty uniform. Ih. mingled damask^ or red and white, like the colour of Damask roses. Compare Sonnet cxxx. 5 : * I have seen roses damask'd, red and white, But no such roses see I in her cheeks.' 124. In parcels^ piecemeal, in detail. 124, 125. would have gone near To fall, &c., would have nearly fallen, &c., would have gone a long way towards falling in love. See The Tempest, ii. 2. 78 : 'It will go near to remove his -fit.* And Midsummer Night's Dream, v. i. 294 : * This passion, and the death of a dear friend, would go near to make a man look sad.' 127. I have more cause. *I'was added in the second folio. Staunton proposed to read * Have much more cause, &c.' J 28. what had he to do to chide, what business had he to cL'de. So in Merry Wives of Windsor, iii. 3. 164: * What have you to do whither they bear it ? ' 130. I am remember*d, I remember. See note on ii. 7. 189. 135' straight, immediately. As in Hamlet, v. I. 4: * And therefore make her grave straight.' ACT IV. Scene I, I. be, omitted in the first folio, 6. modern. See ii. 7. 156. lb. censure, opinion, criticism. Compare Hamlet, i. 3. 69 : • Take each man's censure but reserve thy judgement.' 14. nice, foolish, trifling. Compare Romeo and Juliet, v. 2. 18 : * The letter was not nice but full of charge Of dear import.* 15. simples, the single ingredients of a compound mixture. Generally applied to herbs. See note on Hamlet, iv. 7. 143, and Lucrece, 530 : * The poisonous simple somet\mt% u com^^cXftd. In a pure compound? I- a

148 NOTES. [ACTir, 17. my often rutmnation. The first folio has *by.* For* often' as an adjective see l Timothy v. 23, * thine often infirmities.* 18. humorous, fanciful. See i. 2. 249, ii. 3. 8. 26. Orlando's entrance is marked in the folios before Rosalind's last speech. 98. Crod be wC you. See iii. 2. 239. lb. a», if ; printed ' and ' in the folios. In this form it occurs where it is Kttle suspected in the Authorised Version of Genesis xliv. 30 : ' Now therefore when I come to thy servant my father, and the lad be not with us.' 29. See Overbury's Characters (Works, ed. Fairholt, p. 58), where * An Afiectate Traveller ' is described : ' He censures all things by countenances, and shrugs, and speakes his own language with shame and lisping.' Rosalind's satire is not yet without point. She punishes Orlando for being late by pretending not to notice him till Jaques is gone. 30. disable, depreciate, disparage. See v. 4. 71, and The Merchant of Venice, ii. 7. 30 : • And yet to be afeard of my deserving Were but a weak disabling of myself.' 33. swam for * swum,' as * drank * is often used for the participle * drunk.' So 'spake' for * spoken' in Henry VIII, ii. 4. 153. Sec AbKott, § 344. In the folios another form of the participle is * swom.' See The Tempest, ii. 2. 133 ; Two Gentlemen of Verona, i. i. 26. lb, gondola. The folios have * Gundello.' Johnson explains ' swam in a gondola'; *That is, been at Venice, the seat at that time of all licentious^ ness, where the young English gentlemen wasted their fortunes, debased their morals, and sometimes lost their religion.' 42. clapped him o* the shoulder, arrested him, like a serjeant. Compare Cymbeline, v. 3. 78 : * Fight I will no more. But yield me to the veriest hind that shall Once touch my shoulder.' Rosalind hints that Cupid's power over Orlando was merely superficial. 46. lief. See i. i. 132 ; iii. 2. 236, 49i 50. than you make a woman, Hanmer read$ * can make.' 52. beholding, beholden, indebted. 54. prevents, anticipates ; the original meaning of the word being ' to go before.' Compare Hamlet, ii. 2. 305 : ' So shall my anticipation prevent your discovery.' 59. of a better leer, of a better complexion. * Leer * is from A. S. hledr (O. Sax. hlior, hlear, Icel. A/^r), the face, cheek. Compare Havelok " the Dane, 2918 (ed. Skeat): ' }pt heu is swilk in hire ler So ))C rose in io*et ' *. that is, The hue is such in her face as tiiti tose ou \3tx^ xo^^iaAi. 'Wa^^si^

sc. 1.] AS roV LIKE IT. 149 * is/ inserted in the second line by the editor, is nnnecessaty. "See alto La^amon's Brut (ed. Madden), 5076, for a much earlier example : *Vrnen ire teares Ouer hires leores * : Her tears ran over her cheeks. In Chaucfer's Tale of Sir Thopas (ed. Tyrwhitt), 1. 13 786, the word is used in the sense of skin generally : ' He didde next his white lere Of cloth of lake fin and clere.* l^rdm this it came to be used as in the present passage with the wider meaning of aspect, look, and in modem language has degenerated into a look of a particular kind. 64. you were better. See iii. 3. 74* 65. gravelled^ puzzled, at a standstill. Compare Bacon, Advancement of Learning (ed. Wright), i. 7, ^ 8, p. 57: * But when Marcfus Philosophus 1 came in, Silenus was gravelled and out of countenance.' 66. when they are out, when they are at a loss, having forgotten their part. See iii. 4. 233. 67. Steevens quotes from Burton's Anatomy of Melancholy [Part 3, Sect. 2, Memb. 4, Sub. i, p. 506, ed. 1651] : 'And when he hath pumped his wits dry, can say no more, kissing and colling are never ont of season.' 77. suit. See ii. 7. 44. 83. there was ttot, there has not been. For a similar instance of the past tense used for the perfect, compare Genesis xliv. 28 : * And I said, surely he is torn in pieces ; and I saw him not ^ince ; ' where it would be more in accordance with modem usage to say * I have not seen.' 85. Troilus, in the story of his death as told by Dictys Cretensis, Dares Phrygius, Tzetzes and Gnido Colonna, was slain by Achilles ( ' impar Congressus Achflli,' Virg. Aen. i. 474)* either with sword or spear, and the Grecian club is as much an invention of Rosalind's as Leander's cramp. 9I. chroniclers. The first folio has * chronoclers.' Hanmer read *

150 ■ NOTES, [actw. stantive * newfanglenes * ; from which it seoms probable that the final M' is due to corruption, as in the case of * vild* for * vile,' which is of common occurrence, and perhaps *azured' for * azure' (The Tempest, v. i. 43), and * damask'd ' for * damask ' (Sonnet cxxx. 5). In the same way in Hamlet * tickle * was changed to * tickled,' and thus formed a difficulty to commentators. See note on Hamlet ii. 2. 2 1 7

5c. I.] , AS YOU LIKE IT. 151 priately quotes from Chaucer (The Merchant's Tale, 10141-5, ed. Tyrwhitt) the promise of Proserpine to supply May with a ready answer, *And alle women after for hire sake; That though they ben in any gilt ytake. With face bold they shul hemselve excuse, And here hem doun that wold^n hem accuse, For lacke of answere, non of us shul dien.* 152. her husbands occasion, an occasion against her husband; an opportunity for taking advantage of him. Johnson interprets the clause, * shall represept her fault as occasioned by her husband.' 155. lack, do without. 158. go your ways. See i. 2. 191. 163. Rosalind swears, as Hotspur would have said, * like a comfit maker^s wife. " Not you, in good sooth," and " as true as I live," and *' as God shall mepd me," and " as sure as day." ' i Henry IV, iii. i. 253-255. 166. pathetical. Cotgrave explains 'Pathetique' as ' Patbeticall, passionate ; persu^siue, affection-moving.' 174. let Time try. Steevens compares Troilus and Cressida, iv. 5. 225 : *And that old common arbitrator. Time, Will one day end it.* 175-7. Celia's speech, as Steevens has shown, is taken directly from Lodge's novel (p. 34) : * And I pray you (quoth Aliena) if your robes were off, what mettal are you made of that you are so satyrical against women ? is it not a foule bird defiles his own nest ? ' 175. misused, abused. See Much Ado about Nothing, ii. i. 246: *0, she misused me past the endurance of a block.' And Taming of the Shrew, ii. I. 160: * With twenty such vile terms. As had she studied to misuse me so.* On the other hand, 'abuse' in Shakespeare's time was equivalent to the modern * misuse.' 1 80- 1, the bay of Portugal. In a letter to the Lord Treasurer and Lord High Admiral, Ralegh gives an account of the capture of a ship of Bayonne by his man Captain Floyer in * the Bay of Portugal ' (Edwards, Life of Ralegh, ii. 56). This is the only instance in which I have met with the phrase, which is not recognised, so far as I am aware, in maps and treatises on geography. It is, however, I am informed, still used by sailors to denote that portion of the sea off the coast of Portugal from Oporto to the head* land of Cintra. The water there is excessively deep, and within a distance of forty miles from the shore it attains a depth of upwards of 1400 fathoms, which in Shakespeare's time would be practically unfathomable. 185. spleerif a sudden impulse of passion, whether of lov^ q,\ \^^>x^«5i.. *^'c» J Henrjr IV, v. 2. jg : ...

152 NOTES. [act IV. 'A hare-brainM Hotspur, govera'd by a sfdeenl* And Venus and Adonis, 907 : ' A thousand spleens bear her a thousand ways.* ] 86. abuses^ deceives. See iii. 5. 78. 188. go find. See i. I. 67. lb, a shadow t a shady place. So in Venus and Adonis, 191 : *I11 make a shadow for thee of my hairs.' Scene II, 11. His leather skin and horns to wear, Steevens quotes from Lodge's novel [p. 57], ' What news, Forrester ? hast thou wounded some deere, and lost him in the fall? Care not man for so small. a losse; thy fees was but the skinne, the shoulder, and the horns.' 12. In the folios this line and the stage direction are printed as one line : ' Then sing him home, the rest shall beare this burthen.* Theobald was the first to give * The rest shall bear this burthen ' as a stage direction. Knight regards the whole as a stage direction, and omits it alto> gether, while Collier and Dyce print it in diflferent type. Mr. Grant White does the same, reading * They * for * Then.* Barron Field conjectured, •Men sing him home, the rest shall bear [This burthen.' And Mr. Halliwell (Phillipps) prints * Then sing him home, the rest shall bear — This burthen.* Scene III. 2. here much Orlando^ ironically. 7. bid. The first folio has * did' bid.' 17. as rare as phoenix^ which, according to Seneca (Epist. 42), was born only once in five hundred years. See The Tempest, iii. 3. 23, and Sir T. Browne's Vulgar Errors, B. 3, c. 1 2 : * That there is but one Phoenix in the world, which after many hundred years burneth it self, and from the ashes thereof ariseth up another, is a conceit not new or altogether popular, but of great Antiquity.' lb. Od^s my will. See iii. 5. 43. 23. turn*d intOf brought into. Compare, for this sense of * turn,' Two Gentlemen of Verona, iv. 4. 67 : • A slave, that still an end turns me to shame.* The Tempest, i. 2. 64 : *0, my heart bleeds To think o' the teen that I have turn'd you to.* Twelfth Night, ii. 5. 224: * It cannot but turn him into a ivotable contempt.* Conohnus, ill. i. 2S^ : ' The which shall turn you to uo £\aO^« Yvwm*

sc. 3.] AS FOV LIKE IT. 153 Hence the conjectural emendations proposed by Capell * tum'd so in the eTrtremity of love/ or * turned (that is, head-turned) in, &c.* arc unnecessary. 25. freestone-colot4r*dt of the colour of Bath brick, a common article of domestic use. 27. a husun/e*s hand, such as a housemaid would have. 34. drop forth. See iii. 2. 219. 35. Ethiope, black as an Ethiofiiati. The word is used frequently by Shakespeare, but elsewhere as a substantive. Compare Two Gentlemen of Verona, ii. 6. 26 : * And Silvia — witness Heaven, that made her fair I — Shows Julia but a swarthy Ethiope.* 37. heard. See note on iv. i. 83. 48. vengeance^ mischief; not revenge. 49. Meaning me a heast, meaning that I am a beast. 50. eyne, a poetical form of the plural, generally usesd for the sake of the rhyme. But this is not the case in Lucrece, 1229 : *Even so the maid with dwelling drops gan wet Her circled eyne.' The old English forms are ei^n, eien, 6z eyen ; A. S. edgan. 53. aspect^ an astrological term used to denote the favourable or unfavourable appearance of the planets. Compare Troilus and Or^ssida, i. 3. 92 : 'Whose medicinable eye Corrects the ill aspects of planets evil.* Lucrece, 14 : 'Where mortal stars, as bright as heaven's beauties, With pure aspects did him peculiar duties.' Sonnet, xxvi. 10 : * Till whatsoever star that guides my moving Points on me graciously with fair aspect.* The accent is always on the last syllable. 59. hind, nature, natural inclination. See Lucrece, 1147: 'And there we will unfold To creatures stem sad tunes, to change their kinds.' 67. instrument is here used in two senses : first as a tool and then as a musical instrument. 69. snake, a term of contempt. Malone quotes from Sir John Oldcastle : * And you, poor snakes, seldom come to a booty.' Again from Lord Cromwell [iii. 3] : * The poorest snake, That feeds on lemons, pilchards.* Compare also Beaumont and Fletcher, The Captain, i. 3 : ' But no snakes to po\%oTi >i

154 NOTES. Lactiv. And The Spanish Curate, iii. i : * That makes you fear'd, forces the snakes to kneel to you.* 74. fair ones. Shakespeare seems to have forgotten that Celia was apparently the only woman present. Perhaps we should read * fair one.' 75. purlieus^ the skirts or borders of a forest ; originally part of the forest itself. A technical term. Reed quotes from Manwood's Treatise on the Forest Laws, c. xx. ; 'Purlieu ... is a certaine territorie of ground adjoyning unto the forest, meared aud bounded with immovet&ble marks, meeies, and boundaries.' 77. the neighbour bottom^ the neighbouring dell of dale. For * neighbour* as an adjective see Jeremiah xlix. 18 : * As in the overthrow of Sodom and Gomorrah, and the neighbour cities thereof.' And for * bottom* see Zechariah, i. 8 : * I saw by night, and behold a man riding upon a red horse, and he stood among the myrtle-trees that were in the bottom.' 85. favour, aspect, look; used generally of the face. It is a common thing in some parts of the country to say that a child *favouis' his father when he is hkg him in the face. Compare Macbeth, i. 5. 73 • *To alter favour ever is to fear.' And Hamlet, v. i. 214: * J^et her paint an inch thick, to this favour she must come.' IK bestows himself bears himself, deports himself. See Two Gentlemen of Verona, iii. i. 87 : *How and which way I may bestow myself To be regarded in her sun-bright eye.* 86. a ripe sister, a grown-up sister. Lettsoni conjectured * right forester' ; but the meaning must be that Rosalind,^ though in male attire and acting the part of a brother, was in her behaviour to Celia more like an elder sister. 92. napkin, handl^erchief. See v. 2. 25, and Othello, iii. 3. 290, where Emilia says, * I am gla^d I have found this napkyi.' lago afterwards asks Othello, iii. 3. 434 : *Have you not sometimes seen a handkerchief Spotted with strawberries in your wife's hand?' 96. handhercher. The spelling of the folios, representing the common pronunciation. In Othello the quarto leads ' handkercher,' the folios * b»adktrchief.* 99. an hour. Orlando had said ' two hours,* and so Hanmer reads. 100. food. Staunton reads * cud.' lb. Swset and bitter fancy. Compare Lodge's novel, p. 100 : * Wheria I have noted the variable disposition of fancy, that lyke the polype in colours, so it changeth into sundry humors, being as it should seeme, a combat mixt with disquiet, and a bitter pleasure wrapt in a sweet preju^ dice, lyke to the synople tree, whose blos&omes deligjit the smell, and whose truit infects the tasie.'

EC 3.j AS YOU LIKE IT. 1 55 103. an oak. The reading of Pope. The folios have * an old oake.* 113. with udders all drawn dry, and therefore fierce with hunger. Compare Lear, iii. 1, i a : *This night wherein the cub-drawn bear would couch,' thoagh sucked dry by her cubs and therefore hungry. Steevens quotes from Arden of Feversham : •The starven lioness When she is dry suckt of her eager young,' 116, II 7. Douce quotes from Batman vppon Bartholome [xviii. 65, fol. 370], of lions: * Also their mercie is known by many and oft ensamj^es : for they spare them that lye on the ground.' See also the quotation from Lodge in the Preface. 121. render, report, describe. Compare Cymheline, iii. 4. 153: 'Report should render him hourly to your ear As truly as. he moves.' 1 24. to Orlando, with regard to Orlando. 130. hurtling, din, tumult, noise of a conflict. An imitative word. Compare Julius Csesar, ii. 2. 22 : * TJie noise of battle hurtled in the air.' Cotgrave (Fr. Diet.) gives * Hurteller. To trample on with the feet.* 134. do not shame, am not ashamed. Compare Lucrece, 447 : * And for, poor bird, thou »ng'st not in the day, ^ As shaming any eye should thee behold.' J37. far,, as regards. 139. recountments, narratives. 140. ^5, as for instance. See ii. i. 6. Oliver gives one of the many questions asked and answered. 149. Brief, briefly, in brief. So in Pericles, iii. prol. 39 : * Brief, he must hence depart to Tyre.* Ih. recover d, restored. Compare The Tempest, ii. 2. 97 : * If all the wine in my bottle will recover him, I will help his ague.' 154. in his blood. The first folio has *this.' 158. Cousin Ganymede ! Johnson reads * Co\isin — Ganymed ! and explains, • Celia, in her first fright, forgets Rosalind's character ahd disguise, and calls out cousin, then recollects herself, and says, Ganymede,* 162. Be of good cheer. Be cheerful, cheer up I So Antony and Cleopatra, V. 2. 21 : * Be of good cheer. You're fall'n into a princely hand, fear nothing.' * Cheer,' from Fr. chere, was originally the countenance. See Midsummer Night's Dream, iii. 2. 96: *pale of cheer.' 164. / do so. Rosalind takes Oliver's words in another sense. lb. Ah, sirrah. Pope altered this to • Ah, sir,' probably because * sirrah' is a term used in addressing an inferior. But Vt occwi^ \cvQ\t ^-asv ^\sk.^ 'vc*^

156 NOTE^. ' [actt. the same connexion with ' ah/ the speaker apparently half soliloquizing. See Romeo and Juliet, i. 5. 31 : *Ah, sirrah, this anlook*d-for sport comes well.' And again, line ia8 : *Ah, sirrah, by my fay, it waxes late/ In Beaumont and Fletcher are several cases in which it is addressed to womea. See Wit at Several Weapons, iii. i : *Ah, sirrah mistress, were you caught i' faith?* lb. a body would think, a person would think, one would think. This indefinite use of *body' is common enough in Scotch and provincial dialects, and was once more common still. Compare Psalm liii. i (Prayer Book Version) : * The foolish body hath said in his heart/ So in Measure for Measure, iv. 4. 25 : * an eminent body/ And Merry Wives of Windsor, I 4. 105 : • 'Tis a great charge to come under one body's hand.' 168. (^earnest. Compare Cymbeline, v. 5. 206 : ' Nay, some marks Of secret on her person/ ACT V. Scene I, 3. See iii. 3. 68-73. 10. // i& meat and drink to me, &c. Se6 Merry Wves of Windsdr^ i. i. 306 : * That's meat and drink to me, now/ 11, 12. we shall be flouting, we must have our joke. For 'shall' in this sense compare i.. i. 117. On * flouting,* see iii. 3. 89. 14. God ye good even, that is, God give you good even. It is still further shortened to *Godgigoden* in Romeo and Juliet, i. 2. 58. 51. bastinado. This is the spelling of the folios, and has been adopted in modern times. But Cotgrave (Fr. Diet.) gives, ' Bastonnade : f. A bastonadoe; a banging, or beating with a cudgell/ Florio (Ital. Diet.) has, • Bastonata, a bastonado, or cudgell blow.' 52. bandy with thee, contend with thee. ' To bandy' is to take a side in a party quarrel, and was also a term used in tennis. See Romeo and Juliet, iii. I. 92: *The prince expressly hath Forbidden bandying in Verona streets.' And I Henry VI, iv. i. 190: * This factious bandying of their favourites.* Cotgrave (s. v. Bander) gives the following : * louer h. bander et k racier centre. To bandy against, at Tennis : and (by metaphor) to pursue with aH insolencie, rigour, extremitie. Se bander contre. To bandie, or oppose himselfe against, with his whole power ; or to ioyne in league with others against/

sc. 2.] AS YOU LIKE IT. T57 lb, policy. The first folio has 'police/ 56. Gad rest you merry. This salutation at taking leave occurs in the shorter form in Romeo and Juliet, i. 2. 65 : * Ye say honestly : rest you merry !* So * rest you fair, good signior/ in Merchant of Venice, i. 3. 60. 57. seehi, perhaps only a misprint of the folios. See note on i. 2. 94. Scene II, 3. persever. The common spelling of Shakespeare's time, the accent being on the second syllable. See King John, ii. I. 421 : * Persever not, but hear me, mighty kings/ The only exception to the uniformity of this spelling given by Dr. Schmidt in his Shakespeare Lexicon is in Lear, iii. 5. 23, where the quartos have • persevere,* knd the folios ' persever/ 6. the poverty of her. Compare Henry V, ii. 4. 64: • The native mightiness and fate of hinu* And see Abbott, § 225. 7. nor her sudden consenting, * Her* was added by Rowe. 1 1. estcUe, settle as an estate. So in The Tempest, iv. i. 85 : 'And some donation freely to estate On the blest lovers/ 17. And you, fair sister, Johnson proposed *And you, and your fair sister,' but Oliver enters into Orlando's humour in regarding the apparent Ganymede as Rosalind. 25. swoon. The first three folios have * sound' ; the fourth ' swound.* See iii. 5. 17. lb, handkercher. See iv. 3. 96. 27. J know where you are, I know what you mean, what you are hinting at. Compare Lear, iv. 6. 148 [123, Clar. Press ed.] : * O, ho, are you there with me?* 29. thrasonical, boastful ; from Thraso the boaster in the Eunuchus of Terence. It occurs again in Love's Labour 's Lost, v. I. 14 : * His general behaviour vain, ridiculous, and thrasonical.' lb, of. Compare Twelfth Night, i. 5. 10: *I can tell thee where that Saying was born, of " I fear no colours.'* * lb. The celebrated despatch of Caesar to the Senate after his defeat of I^harnaces near Zela in Pontus. See Cymbeline, iii. I. 24: * A kind of conquest CsBsar made here; but made not here his brag Of " Came " and ** saw " and " overcame." * The first folio has * overcome.* 35. incontinent, immediately. See Othello, iv. 3. 12 : 'He says he will return incontinent.' lb, wrath, ardour or impetuosity.

158 NOTES. [actv* 36. they will together. See note on i. 2. 197. lb. clubs cannot part them. Clubs were the wekpons of the Lon

sc 2.] AS YQU LIKE IT. 1 59 and pillory; and for the second, death. To use witchcraft for the purpose of discovering treasure or to provoke unlawful love was an offence punishabtc upon the first" Conviction with a year's imprisonment and pillory, and upon the second with imprisonment for life and forfeiture of goods. This Act was repealed by another, i James I, c. 12, which was even more severe. By this any one invoking or consulting with evil spirits and practising witchcraft was to be put to death; and for attempting by means of conjurations to discover hidden treasure or to procure unlawful love the punishment was one year's imprisonment and pillory for the first offence, and for the second, death. 87, 8p. observance^ respect. In one or other of these passages * observance* occurs in place of another word. Most of those who have made conjectures have rightly regarded the second occurrence of the word as an error, for on the first occasion it is appropriately associated with * adoration ' and * duty.* To * observe * any one, in the language of Shakespeare's time, was to treat him with consideration and respect. Thus in Mark vi. 20 it is said of J^hii the Baptist that ' Herod feared John, knowing that he was a just man and an holy, and observed him,* where Tyndale has * gave him reverence.' Compare Timon of Athens, iv. 3. 212 : * Hinge thy -knee, And let his very breath, whom thou'lt observe. Blow off thy cap.' In line 87 Dyce reads * obedience.' In line 89 the following have been proposed, * obeisance,* * obedience,' * perseverance,' * endurance,* * deservance,* and * devotion.' Of these * perseverance * and * endurance ' are better than the rest, but not entirely satisfactory. 94. to love you. We should now say *for loving you.' Compare Taming of the Shrew, iii. 2. 27: *I cannot blame thee now to weep.' See Abbott, § 356. 97. Why do you speak too. Rowe altered this to * Who do you speak to ' ; but the change is not absolutely necessary, for Orlando's reply fits the question well enough. 100, loi. like ike howUng of Irish wolves, dismal and monotonous. Malone has pointed out that this is adapted from Lodge's novel (p. no) ; • I tell thee, Montanus, in courting Phoebe, thou barkest with the wolves of Syria against the moone.' In Ireland wolves existed as late as the beginning of the last century. Spenser, in )iis View of the Present State of Ireland (Globe ed.), p. 634, mentions some ci the Irish superstitions connected with the wolf: * Also the Scythians sayd, that they were once every yeare turned into wolves, and soe is it written of the Irish : though Mr. Camden in a better .sence doth suppose it was a disease, called Lycanthropia, soe named of the wolfe. And yet some of the Irish doe use to make the wolfe theyr gossip.' ,

l6o NOTES, [acty. Scene III. 4. dishonest, unvirtaoni or immodest. See i. 3. 35, iii. 3. 21. In * the character of the persons * prefixed to Ben Jonson's Every Man out of his Humour, Fallace, the citizen's wife, is described : ' She dotes as perfectly npon the conrtier, as her husband does upon her, and only wants the fiice to be dishonest.' Ih. to be a woman of the vforld, that it, to be married. Ck>mpare what Beatrice says in Much Ado about Nothing, ii. i. 331, • Thus goes every one to the world but I, and I am sunburnt : I may sit in a comer and cry heighho for a husband ! ' Again, All's Well that End's WeU, i. 3. 20 :' If I may have your ladyship's good will to go to the world, Isbel the woman and I will do as we may/ 10. Shall we clap into '/ roundly, shall we set about it directly ? Compare Measure for Measure, iv. 3. 43 : * Truly, sir, I would desire you to clap into your prayers ; for, look you, the warrant's come.' And Much Ado abont Nothing, iii. 4. 44 : * Clap's into " Light o' Love," that goes without a burden.' For * roundly* in the sense of directly, without hesitation, see Troilus and Cressida, iii. 2. 161 : • Perchance, my lord, I show more craft than love ; And fell so roundly to a large confession. To angle for your thoughts.' Ii, 12. the only prologues to a bad voice. Another instance of the transposition of * only.' Compare i. 2. 174, and Much Ado about Nothing, iv. !• 323^ * Men are only turned into tongue.' Again, Sidney's Arcadia, lib. 2, p. 110 (ed. 1598) : *Gynecia, who with the onely bruze of the fall, had her shoulder put of ioynct.' I5~32. The arrangement of verses in the song is that which is found in a MS. in the Advocates' Library, Edinburgh, reprinted by Mr. Chappell in his Popular Music of the Olden Time, p. 204. In the folios the last stanza is printed as the second. 16. With a hey, and a ho, and a hey nonino. In the preface to his Ghostly Psalms, Coverdale (Remains, p. 537, Paricer Soc.) refers to these meaningless burdens of songs : * And if women, sitting at their rocks, or spinning at the wheels, had none other songs to pass their time withal, than such as Moses' sister, Glehana's [Elkanah's] wife, Debora, and Mary the mother of Christ, have sung before them, they should be better occupied than with hey nony nony, hey troly loly, and such like phantasies.* 1 8. the only pretty ring time. So the Edinburgh MS. The folios hare * rank ' for * ring.* 33» 34. no great. matter in the ditty, no great sense or meaning in the words of the song. For * matter ' see ii. i. 68. Bacon, Essay xxxvii. p. 156 (ed. Wright), says of • acting in song * that we should have * the ditty high and tragicall/

SC.4.] AS YOU LIKE IT. l6l 34. untuneable, Theobald, forgetting that Touchstone is the speaker, changed this to < untimeable.' The page misunderstands him in order to give him an opening for another joke. Scene IV. 4- As those that fear they hope, and know they fear, who are so diffident that they even hope fearfully, and are only certain that they fear. Various ^Qjectures without sufficient reason have been made for the emendation <>*' the text. 5* whiles f while. See ii. 7. 128. •^. compact, with the accent on the last syllable, as in Hamlet, i. i. 86 *iid elsewhere in Shakespeare except I Henry VI, v. 4. 163". See the note ^^ the passage in Hamlet (Clar. Press ed.). 35. To make these doubts all even, Steevens quotes from Measure for Measure, iii. i. 41 : *Yet death we fear, That makes these odds all even.' 25. lively, lifelike. So in Timon of Athens, i. i. 38, * Livelier than life.' -^. touches, traits. See iii. 2. 141. •^. favour. See iv. 3. 85. As Orlando does not recognise Rosalind in ***'' disguise it is not surprising that her father fails to do so. But his curi^ity is excited, and the enquiries which must certainly have followed upon Wando's speech are checked by the entry of Touchstone and Audrey. 35. another flood toward, that is, at hand or coming on. Compare Lear, "• I- II : 'Have you heard of no likely wars toward, 'twixt the Dukes of ^>Tiwall and Albany ?* So * towards ' is used in the same sense in Romeo *^^ Juliet, i. 5. 124 : * We have a trifling foolish banquet towards.' 36, 37. Warburton thought the reading * very strange beasts ' wrong, and' "**t his proposed change to * unclean beasts * made it highly humorous. No **^^ but Hanmer seems to have been of the same opinion. 39. Good my lord. See i. 2. i. 39« 40. the motley-minded gentleman. See ii. 7. 12 &c. 4a. let him put me to my purgation, let him give me an opportunity of Proving the truth of what I have said. See i. 3. 50. The phras© is used in ^ double sense in Hamlet, iii. 2. 318. 34* a measure, a stately dance, suited to the court. Compare Much Ado thoot Nothing, ii. i. 80 : * The wedding mannerly modest, as a measure, full ^f state and ancientry.' Autolycus m the Winter's Tale (iv. 4. 757), who "^ some points of resemblance to Touchstone, says to the Shepherd, * Hath. *^ my gait in it the measure of the court !' See also in Venus and Adonis, ^^148, Venus prophesies of love, • It shall be sparing and too full of ilol, Teachiag decrepit age to tread the rMais\iit&* M

1 62 NOTES, [acl TV. 45. like, been likely. Compare Much Ado about Nothing, v. i. i 25 • * We had like to have had our two noses snapped off with two old ^cr»en without teeth.' 47. ea'en up, made up. Compare Twelfth Night, iii. 4. 320 : * I hav^ h^ horse to take up the quarrel.' And Othello, i. 3. 173 : * Good Brabantio, Take up this mangled matter at the best.' 52. God Hid you. See iii. 3. 61. lb, I desire you of the like. Compare Midsummer Night's Dream, iii -> * • 185 : 'I shall desire you of more acquaintance, good Master Cobweb.* 53. copulatives, vfho desire to be joined in marriage. For the force oF **** termination '-ive' in Shakespeare see note on iii. 2. 10. 54. blood, passion. See Hamlet, iii. 2. 74 ^ 'And blest are those Whose blood and judgement are so well commingled. That they are not a pipe for fortune's finger To sound what stop she please.* 55. ill-favoured, ill-looking, ugly. See i. 2. 36. 57. honesty. See i. 2. 35, iii. 3, 25. 58. as your pearl in your foul oyster. For this colloquia;! use of the f^^^^ noun -compare iii. 4. 10, and Antony and Cleopatra, ii. 7. 29, 30 : « V^^** serpent of Egypt is bred now of your mud by the operation of your sun ? ^ is your crocodile.' 59. stvifi, quick-witted. See iii. 2. 257, and compare Much Ado al^^^ Nothing, iii. i. 89 : * Having so swift and excellent a wit.* lb. sententious, full of pithy sayings. So in Love's Labour 's Lost, v. I— ^ ' *Your reasons at dinner have been sharp and sententious.* 60. the fooVs bolt, which, according to the proverb, is soon shot. Henry V, iii. 7. 132. 60, 61. such dulcet diseases. Those who wish to make sense of Toi» ^^ 1 stone's nonsense would read * discourses,* or 'phrases,' or * discords,* inst^^ of * diseases.' But the clown only shares the fate of those, even in mod ^ _ ^ times, who use fine phrases without understanding them, and * for a tricl word defy the matter.' 64. seven times removed, reckoning backwards from the lie direct. 65. more seeming, more seemly, more becomingly. lb. dislike, express dislike of. Warburton quotes from Beaumont Fletcher, The Queen of Corinth, iv. I : ' Has he familiarly Disliked your yellow starch, or said your doublet Was not exactly frencYdfveA'i ot xte., that report In fair terms was uutrvie'? ot Axa^wtv "^owx >«««t^^ Cried 'twas iU-mo\inted'? Yias Yie ^w«v -Ooft \\^

»c. 4.] AS you LIKE IT. 1 63 In circle, or oblique, or semi-circle, Or direct parallel? you must challenge him/ 70. quip, a smart jest. Cotgrave (Fr. Diet.) explains * Sobriquet ' as * A *i*iTMme ; also, a nickname, or byword ; and, a quip or cut giuen, a mocke ^ ilowt bestowed, a ieast broken on a man/ Milton has preserved the word '^ I-'AUegro, 27: * Quips and cranks and wanton wiles.' *^»*«t (Alvearie, ed. 1580) gives : * merrie Quipps, or tauntes wittily spoken. ^*Uing jm^ receiuing of the Lie, wherevpon the Duello & the Combats in *^®*"s sortes doth insue, & many other inconueniencies, for lack only of ® true knowledge of honor, and the contrarie : & the right vnderstanding Wordes, which heere is plainly set downe, beginning thus.* The subject ^ Seated under the following heads : * Of the manner and diuersitie of Lies.' JP^ Lies certaine.' * Of conditional! Lyes.' • Of the Lye in generall.' * Of **e Lye in particular.' * Of foolish Lyes/ The chapter * Of conditional! -^^* which appears to correspond to Touchstone's Lie circumstantial, begins ^s : « Conditional! lyes be such as are giuen conditionally : as if a man *lOuid saie or write these woordes. If thou hast saide that I haue offered my ^^r^i abuse, thou lycst : or if thou saiest so heerafter, thou shalt lye. And * often as thou hast or shalt so say, so oft do I and will I say tliat thou *^»t lye. Of these kinde of lyes giuen in this manner, often arise much ^itention in words, and diuers intricate worthy battailes, multiplying ^*'des vpon wordes whereof no sure conclusion can arise.' The author ***ns Ills readers * by all meanes possible to shunne all conditional! lyes, ^U^f gelling anie other but certayne Lyes; the vi Vi\cVv \ti VxVL't twwcaw. \\sk^ s^^^^^'^ **"^ ^^*^ regarde, that they giuc iViem Tvo\.,Nt\w&fe ^vi\«.V| '^e surcmenns infallibly assured, that they giue \Vv«rci tX^gci'Ct^ A^ ''^^ ^^"^ M a

164 NOTES, [act V. that the parties vnto whome they be gtuen, may be forced without furt "Kraer Ifs and Ands, either to deny or iustifie, that which they haue spoken.' 84. books for good manners^ like * the card or calendar of gentry^ to which Hamlet (v. 2. 114) compares Osric, evidently in allusion to the ti'tle of some such book. Mr. Halliwell (Phillipps) quotes one by R. Whittint-

sc. 4.] AS YOU LIKE IT. 1 65 Elsewhere Shakespeare uses the word in a transitive sense. Compare Richard II, i. i. 202 : ' Since we cannot atone you, we shall see Justice design the victor's chivalry.' "Hie word ■ is probably not much older than Shakespeare's time. Neither * atone * nor * atonement ' occurs in the Authorised Version ; but we have tliere in Acts vii. 26, 2 Mace. i. 5, the phrases * to set at one' in the sense of * to reconcile,' and • to be at one ' in the sense of * to be reconciled/ from "^hich both are derived. Chaucer (Clerk's Tale, line 8313) has *to brynge *t oon.' The substantive • atonement' is found earlier than the verb * atone*; >Qd the latter appears to have been formed from ' at one,' regarded as an adverbial phrase, in the same way as verbs are formed from the adverbs * ftirther,' * forward,' etc. The spelling of the folios is • Attone,' which has given occasion to the conjectural emendation * Attune.' 105, hither. The rhyme is more perfect in the first folio, which speHs *^»s • hether.' 106, her hand. The reading of the third and fourth folios. The others ^ave* his hand.' 107, Compare Love's Labour's Lost, v. 2. 826: • Hence ever then my heart is in thy breast.' III. For * sight' in Orlando's speech Johnson proposed to read * shape,' "^ consequence of Phebe's answer : * If sight and shape be true.' But "^^salind's woman's shape was more fatal to Phebe's hopes than the mere *

1 66 NOTES. [act V, 148. Addressed, equipped, prepared. Compare 2 Henry IV, iv. 4. 5 : * Our navy is addressM, our power collected.* lb. poiveTt force ; used of an army, as in Macbeth, iv. 3. 336 r * Come, go we to the king ; our power is ready.* 149. In his own conduct, under his own guidance, led by himself. Compare Troilus and Cressida, ii. 2. 62 : * I take to-day a wife, and my election Is led on in the conduct of my will.' 152. religious. See iii. 2. 318. 153. question. See iii. 4. 31. lb. was converted. For the omission of the nominative see i. I. i, and Abbott, § 400. 156. all their lands restored. This may be grammatically explained either by regarding it as a continuation of the sentence in line 153 *was converted/ the intervening line being parenthetical; or by. supposing an ellipsis of * were,' * all their lands were restored * (see i. I. 11, and the passage from Antony and Cleopatra quoted below in note on line 164) ; or, which seems best, as an independent participial clause, * all their lands being restored.* 158. engage, pledge. Compare Othello, iv. 3. 462 : *I here engage my words/ Cotgrave (Fr. Diet.) has * Engager. To pawne, impledge, ingage, to lay to pawne, or to pledge.* 159* offer* St fairly, contributest fairly, makest a handsome present. 160. to the other, that is, Orlando, by his marriage vidth Rosalind. 164. after, afterwards. See The Tempest, ii. 2. 10: * Sometime like apes that mow and chatter at me And after bite me.* lb. every, every one. So *any' for * any one * in i. 2. 127. Compare Antony and Cleopatra, i. 2. 38 : * If every of your wishes had a womb. And fertile every wish, a million.* And Bacon, Essay xv. p. 56 (ed. Wright) : * For the Motions of the greatest persons, in a Government, ought to be, as the Motions of the Planets, vnder Primum Mobile; (according to the old Opinion :) which is. That Every of them, is carried swiftly, by the Highest Motion, and sofSy in their owne Motion.' 165. shrewd, bad, evil. In the Promptorium Parvulorum we find ' Schrewe. Pravus. Schrewyd. Pravatus, depravatus* To * shrewe * in Chaucer is to wish a person evil: as in The Wife of Bath's Tale (line 6644, ed. Tyrwhitt) : *Nay than, quod she, I shrewe us bothe two.* In the earlier Wicliffite Version of Genesis xxzix. 8, the Latin * Qui neqnaquam acquiescens open nefetio * is tendcted *■ \ive ^bich not assentynge to t/je shrewid dedc* In modem usage ihe Tioxd \«ls ^ \vco:\\fc^\j.xiV vRi^fRN^ meaning. A shrew is a scold, one witVv a s\v?tt^ \ow^^x^,o\ ^>r» N5v"^vu^

bethan English was * curst'; and * shrewd* pas^ng through the sense of • sharp of tongue, censorious/ has come to signify sharp or keen-witted. 171. measures. See above, line 43. 172. by your patience, by your leave, with your permission. See The Tempest, iii. 3. 3 : • By your patience, I needs must rest me.' And Lear, v. 3. 59 : * Sir, by your patience, I hold you but a subject of this war, Not as a brother.' 1 74. pompous, attended with pomp and ceremony. Compare Richard IT, iv. I. 250: * For I have given here my soul's consent To undeck the pompous body of a king.' The word has now come to be chiefly if not entirely used in the sense of ' ostentatious.' 176. To him will I. See i. 2. 197. lb. convertites, converts. Compare King John, v. I. 19: * But since you are a gentle convertite, My tongue shall hush again this storm of war.' And Lucrece, 743 : •He thence departs a heavy convertite.' Cotgrave (Fr. Diet.) thus defines ' Convers ' : * A conuertite ; one that hath turned to the Faith ; or is woon vnto religious profession ; or hath abandoned a loose to follow a godlie, a vicious to lead a vertuous, life.' 177. matter. See ii. i. 68. 178. bequeath, loosely used in the sense of * leave,' as above, line 155. Properly, like the A. S. becwce^n, it signifies only to give by will, and is applied to personal property. This passage is not quoted by those who insist upon Shakespeare's intimate technical knowledge of law. 1 79. deserves. The singular verb often follows two substantives which represent one idea. See Abbott, § 336. Epilogue. 3. good wine needs no bush. An ivy bush or garland was formerly the sign of a vintner. Steevens quotes from Gascoigne's Glass of Government, 1575 : *Now a days the good wyne needeth none ivye garland.' See also Florio, Second Frutes, p. 185 : * Womens beauty ... is like vnto an luy bush, that cals men to the tauem, but hangs itselfe without to winde and wether.' In many places to this day a bush is the sign of an inn. Cotgrave (Fr. Diet.) has • Bouchon : m. A stop^Ve •, ^-^o, ^ v!0^%

1 68 NOTES. [act v. sc. 4.] ' * A gerlond hadde he sette npon his bede, As gret as it were for an alestake/ 7. ittsinuate with you, ingratiate myself with you. So Venus and Adonis, 1012: *With Death she humbly doth insinuate.' 8. furnished. See iii. 2. 227. II. as please you. 'Please' is here the subjunctive, as in Much Ado about Nothing, ii. i. 56; 'Yes, faith, it is my cousin's duty to make cuitsy and say, " Father, as it please you." * 14, 15. If I were a woman. It was not till after the Restoration that ;«romen's parts in plays were regularly taken by womoi. Compare Coriolanus, ii. 2. 100 : • In that day's feats, When he might act the woman in the scene. He proved best man i* the field.' Pepys in his Diary has several allusions to this. .The following 4QOtations are from the new edition by Mr. Bright. August 1 8th, 1660. 'Captain Ferrers took me and Crud to see the Cockpitt play, tbe first that I have had time to see since my coming from sea, " The Loyall Subject," where one Kinaston, a boy, acted the Duke's sister, but made the loveliest lady that ever I saw in my life' (i. 177, 178). January 3, 1660. *To the Theatre, where was acted "Beggar's Bush," t being very well done ; and here the first time that ever I saw women come jpon rfie stage * (i. 328). January 8, 1 660/1. * After dinner I took my Lord Hinchinbroke and Mr. Sidney to the Theatre, and shewed them " The Widdow," an indifferent good play, but wronged by the women being too seek in their parts' (i. 340). Feb. 12, 1 660/1. * By water to Salsbury Court play-house, where not liking to sit, we went out again, and by coach to the Theatre, and there saw *' The Scornfull Lady," now done by a woman, which makes the play appear much better than ever it did to me ' (i. 259). 16. likedy pleased. So in Two Gentlemen of Verona, i v. 2. 56 : 'The music likes you not.' /yV^ 1 7. defied^ distrusted, disliked. Pepys, with all his gallantries, was of a jealous complexion. At dinner at Sir W. Pen's he meets ' Major Holmes, who,' says he, * I perceive would fain get to be free and friends with my wife, but I shall prevent it, and she herself hath also a defyance against him.' ('• 3970