Google
This is a digital copy of a book that was preserved for generations on Hbrary shelves before it was carefully scanned by Google as part of a project
to make the world's books discoverable online.
It has survived long enough for the copyright to expire and the book to enter the public domain. A public domain book is one that was never subject
to copyright or whose legal copyright term has expired. Whether a book is in the public domain may vary country to country. Public domain books
are our gateways to the past, representing a wealth of history, culture and knowledge that's often difficult to discover.
Marks, notations and other maiginalia present in the original volume will appear in this file - a reminder of this book's long journey from the
publisher to a library and finally to you.
Usage guidelines
Google is proud to partner with libraries to digitize public domain materials and make them widely accessible. Public domain books belong to the
public and we are merely their custodians. Nevertheless, this work is expensive, so in order to keep providing this resource, we liave taken steps to
prevent abuse by commercial parties, including placing technical restrictions on automated querying.
We also ask that you:
+ Make non-commercial use of the files We designed Google Book Search for use by individuals, and we request that you use these files for
personal, non-commercial purposes.
+ Refrain fivm automated querying Do not send automated queries of any sort to Google's system: If you are conducting research on machine
translation, optical character recognition or other areas where access to a large amount of text is helpful, please contact us. We encourage the
use of public domain materials for these purposes and may be able to help.
+ Maintain attributionTht GoogXt "watermark" you see on each file is essential for informing people about this project and helping them find
additional materials through Google Book Search. Please do not remove it.
+ Keep it legal Whatever your use, remember that you are responsible for ensuring that what you are doing is legal. Do not assume that just
because we believe a book is in the public domain for users in the United States, that the work is also in the public domain for users in other
countries. Whether a book is still in copyright varies from country to country, and we can't offer guidance on whether any specific use of
any specific book is allowed. Please do not assume that a book's appearance in Google Book Search means it can be used in any manner
anywhere in the world. Copyright infringement liabili^ can be quite severe.
About Google Book Search
Google's mission is to organize the world's information and to make it universally accessible and useful. Google Book Search helps readers
discover the world's books while helping authors and publishers reach new audiences. You can search through the full text of this book on the web
at |http : //books . google . com/|
As You Like It.
A NEW VARIORUM EDITION
OF
Shakespeare
EDITED BY
HORACE HOWARD FURNESS
VOL. vrii
As You Like It
PHILADELPHIA
J. B. LIPPINCOTT COMPANY
IjONDON: lo HENRIETTA STREET, COVENT GARDEN
189I
Copyright, 1890, by H. II. FURNESS
Wbstcott & Thomson, Prbss op J. B. Lippincott Compant,
RUctroiyptrs and Stereotypers^ Phila. Phila.
IN MEMORIAM
PREFACE
All needful informatioii in regard to the scope and design of this
Edition may be found on p. 439 of the Appendix,
The Text is that of the FmsT Folio, as accurately reproduced as a
comparison almost letter by letter can make it.
There are many passages in Shakespbarb whereon it is desirable
to have notes demanding no profundity of antiquarian research ot
archaeological knowledge on the part of the annotator, but requiring
solely keenness of intellect with clearness of thought or of expres-
sion. On such passages there cannot be, speaking for myself, too
many notes nor too much discussion, provided only that we are fortu-
nate enough to conjure into the circle such minds as Dr Johnson's,
or Coleridge's, Hazutt's, Campbell's, Christopher North's,
Mrs Jameson's, or Charles Lamb's ; or can summon to our aid the
traditions of Garrick, or of ICean, or of Mrs Siddons ; or listen to
Mrs Kebcble or to Lady Martin. Indeed, the professions of * love *
and ' admiration * for Shakespeare from those who can turn aside
from such nights and feasts of the gods are of doubtful sincerity.
At the same time, to be perfectly fair, it must be confessed that we
read our Shakespeare in varying moods. Hours there are, and they
come to all of us, when we want no voice, charm it never so wisely, to
break in upon Shakespeare's own words. If there be obscurity, we
rather like it ; if the meaning be veiled, we prefer it veiled. Let the
words flow on in their own sweet cadence, lulling our senses, charm-
ing our ears, and let all sharp quillets cease. When Amiens's gentle
voice sings of the winter wind that its ' tooth is not so keen because
it is not seen,* who of us ever dreams, until wearisome commentators
gather mumbling around, that there is in the line the faintest flaw in
' logical sequence * ? But this idle, receptive mood does not last for
ever. The time comes when we would fain catch every ray of light
14312'7
vi • PREFA CE
flashing from these immortal plays, and pluck the heart out of every
mystery there ; then, then^ we listen respectfully and gpratefully to
every suggestion, every passing thought, which obscure passages
have stirred and awakened in minds far finer than our own. Then it
is that we welcome every aid which notes can supply, and find, too,
a zest in tracing the history of Shakespearian Comment from the
condescending, patronising tone of the early critics toward the * old
bard,* with Warburton's cries of * rank nonsense,' to the reverential
tone of the present day.
It has been a source of entertainment, in this present play of As
You Like It^ to note/ what I think has been but seldom noted, the
varied interpretations which the character of Jaques has received.
With the sole exception of Hamlet, I can recall no character in
Shakespeare of whom the judgements are as diverse as of this
*old gentleman,*/ as Audrey calls him. j/Were he really possessed
of all the qualities attributed to him by his critics, we should behold
a man both misanthropic and genial, sensual and refined, depraved
and elevated, cynical and liberal, selfish and generous, and finally, as
though to make him still more like Hamlet, we should see in him
the clearly marked symptoms of incipient insanity. Indeed, so mys-
terious and so attractive is this character that, outside of England at
least, JAQUES has often received a larger share of attention than even
Rosalind. So completely did he fascinate George Sand that in her
version of the play for the French stage Jaques is the guiding spirit
of the whole drama, and is represented, by her, as so madly in love
with Celia that in a fit of jealousy he is only with difficulty restrained
from fighting a duel with Orlando, and the curtain falls on the pret-
tiest of ring-times between him and his adoration.
If all degrees of surprise had not been, for me, long ago exhausted
concerning Shakespeare, not alone at the poet himself, but at every
circumstance howsoever connected with him, I should be inclined to
wonder that the students of Anthropology, instead of adopting various
standards, such as Facial Angles, Craniological Measurements, and the
like, had not incontinently adopted one of Shakespeare's comedies
as the supreme and final test in determining nationality, at least as
between the Gallic, the Teutonic, and the Anglosaxon races. I sug-
gest a comedy as the test rather than a tragedy, because in what is
tragic the whole world thinks pretty much alike ; a fount of tears is
PREFACE vii
in eveiy human breast, and the cry of pain is sure to follow a wound.
We are all of us like Barham*s Catherine of Cleves, who
' didn't mind death, but she couldn't stand pinching ;*
it makes no difference whether the unshunnable outcry is in French, or
German, or English, the key-note is the same in all. But in Comedy
it is far different. We may all cry, but we do not all laugh ; and when
we laugh, we are by no means all tickled by the same straw. And it
is just here wherein the difference of nationality or race consists.
Thj6ophii*E Gautier, in the short but good Preface to his transla-
tion of Munchhausen^ has admirably explained the cause of this dif-
ference: *Le g^ie des peuples,* he says, *se r6vMe surtout dans la
plaisanterie. Comme les oeuvres sdrieuses chez toutes les nations ont
pour but la recherche du beau qui est un de sa nature, elles se ressem-
blent ndcessairement davantage, et portent moins nettement imprim^
le cachet de 1' individuality ethnographique. Le comique, au coil-
traire, consistant dans une deviation plus ou moins accentude du
modMe id^, ofifre une multiplicity singuli^re de ressources ; car il y a
mille fagons de ne pas se conformer k I'arch^type.'
The * beaded bubbles winking at the brim' of English wit may,
therefore, be to German eyes merely insipid froth to be lightly blown
aside.
Hence it is that such a sparkling comedy as this of As You Like It
may be made to yield the test I have spoken of. It is through and
through an English comedy, on English soil, in English air, beneath
English oaks ; and it will be loved and admired, cherished and appre-
ciated, by English men as long as an English word is uttered by
an English tongue. Nowhere else on the habitable globe could its
scene have been laid but in England, nowhere else but in Sher-
wood Forest has the golden age, in popular belief, revisited the earth,
and there alone of all the earth a merry band could, and did, fleet the
time carelessly. England is the home oA As You Like It^ with all its
visions of the Forest of Arden and heavenly Rosalind ; but let it
remain there ; never let it cross * the narrow seas.* No Forest of Arden,
'rocking on its towery top, all throats that g^gle sweet,' is to •be
found in the length and breadth of Germany or France, and without a
Forest of Arden there can be no Rosalind. No glimpses of a golden
age do German legends afford, and time, of old in Germany, was
fleeted carelessly only by * bands of gypsies.* Such a life as Rosalind
led in the Forest, which all English-speaking folk accept without a
viu PREFACE
thought of incongruity, is to the German mind wellnigh incom-
prehensible, and refuge is taken, by some of the most eminent Ger-
mans, in explanations of the 'Pastoral drama,' with its * sentimental
unrealities' and * contrasts,' or of Shakespeare's intentional * dis-
regard of dramatic use and wont,* &c. &c. Rosalind ceases to be
the one central figure of the play, her wit and jests lose all prosperity
in German ears, and Germans consequently turn to Jaques and to
Touchstone as the final causes of the comedy and as the leading
characters of the play. The consequence is that this almost flawless
chrysolite of a comedy, glittering with Rosalind's brightness and
reflecting sermons from stones and glowing with the good in every-
thing, becomes, as seen through some German eyes, the almost sombre
background for Shakespeare's display of folly ; nay, one distin-
guished German critic goes so far as to consider the professional Fool
as the most rational character of all the Dramatis Persona. Indeed,
it is to be feared that of some of the German criticisms on this com-
edy it may be truthfully said, that were the names of the characters
omitted to which these critics refer, it would be almost impossible
to discover or to recognise which one of all Shakespeare's plays is
just then subjected to analysis ; so difficult is it for an alien mind
to appreciate this comedy of As You Like It,
Stress has been laid in these later days on the Chronological Order
in which Shakespeare wrote his plays, and attempts have been made
to connect their tragic or their comic tone with the outward circum-
stances of Shakespeare's own life; it has been assumed that, in
general, he wrote tragedies when clouds and darkness overshadowed
him, and comedies when his outer life was full of sunshine.
For my part, I believe that Shakespeare wrote his plays, like
the conscientious playwright that he was, to fill the theatre and make
money for his fellow-actors and for himself; and I confess to abso-
lute scepticism in reference to the belief that in these dramas Shake-
speare's self can be discovered (except on the broadest lines), or that
either his outer or his inner life is to any discoverable degpree reflected
in his plays : it is because Shakespeare is not there that the cha-
racters are so perfect, — the smallest dash of the author's self would
mar to that extent the truth of the character, and make of it a mask.
But assuming, for the nonce, that this belief of recent days is well
grounded, and that from the tone of his dramas we may infer the
experiences of his life, I cannot but think that it is an error to infer
k.
PREFACE ix
from his tragedies that his life was certainly sad, or that because his
life was sad we have his tragedies. Surely, it was not then, when
his daily life was overcast with gloom, and he was ' troubling deaf
Heaven with his bootless cries,* that he would turn from real to write
fictitious tragedies. Do we assuage real tears with feigned ones?
From an outer world of bitter sorrow Shakespeare would surely
retreat to an inner, unreal world of his own creation where all was
fair and serene ; behind that veil the stormy misery of life could be
transmuted into joyous calm. If^ therefore, this belief of recent days
be true, it was, possibly, from a life over which sorrow and depression
brooded that there sprang this jocund comedy of As You Like It
The extracts from Kreyssig, who, of all German commentators,
seems to have best caught the spirit of this play, have been translated
for me by my Father, the Rev. Dr Furness, to whom it is again my
high privilege and unspeakable pleasure to record my deep and abid-
ing thanks.
XI. li. F.
February t 1890.
Dyamatis Per/once.
DUKE of Burgundy.
Frederick, Brother to the Duke^ and Ufurper of his
Dukedom,
Amiens, 1 Lords attending upon the Duke in his
Jaques, / Banijhment. 5
Dramatis Personse] First given by Rowe (ed. i) and substantially followed by
all Editors. In Rowe (ed. ii), after the names Corin and Sylvius, there is added *A
Clown, in love with Audrey,' and * William, another Clown, in love with Audrey.'
Pope, Theobald, Hanmer, and Warburton followed Rowe (ed. ii). Capell added ' a
Person presenting Hymen.'
5. Jaques] The pronunciation of this name has never been decisively determined.
A discussion in regard to it arose in the pages of The Athemeum for the 31st of July,
the 14th and 21st of August, and the 4th of September, 1880; by some of the par-
ticipants it was held to be a monosyllable, a&d by the others a disyllabic. The dis-
cussion ended, as literary journalistic discussions generally end, in leaving the dis-
putants, as far as the public can judge, more firmly convinced than ever of the soundness
of the views with which they started. For the monosyllabic pronunciation no authority
was cited, merely personal preference was alleged. For the disyllabic pronunciation
the requirements of metre were urged when the occurrence of the name in the middle
of a verse shows that pronunciation to be indispensable, as in II, i, 29 : *■ The mel | an-
cho I ly Ja I ques grieves | at that,' and possibly in V, iv, 199 : < Stay, Ja | ques, stay.'
I have discussed in a note on II, i, 29, all the instances where the name occurs metri-
cally in Shakespeare, and beg to refer the student to that note, which supplements the
present. In The Athenaum for the 20th of May, 1882, H. Barton Baker gives of
this disyllabic pronunciation four examples from Greene's Friar Bacon, five from his
James IV, one from Kyd's Spanish Tragedy, another from his Soliman and Perseda,
and two from Beaumont and Fletcher's Noble Gentleman. The value of this list, for
our present purpose, is impaired by the fact that none of these characters is supposed
to be English, and in each case, therefore, < Jaques ' may possibly have received a
foreign pronunciation.
On the other hand, Halliwfxl says ' the name of this character was pronounced
Jakes* And French (p. 317) tells us that ' the name of the melancholy Lord Jaques
belongs to Warwickshire, where it is pronounced as one syllable ; *' Thomas Jakes of
Wonersh," was on the List of Gentry of the Shire, 12 Henry VI, 1433. At the sur-
render of the Abbey of Kenilworth, 26 Henry VIII, 1535, the Abbot was Simon
Jakes, who had the large pension of 100/. per annum granted to him. There are
still some respectable families of the name in the neighborhood of Stratford ; John
Jaques and Joseph Jaques reside at Alderminster ; Mrs Sarah Jaques at Newbold-on-
Stour; and families of the name are living at Pillerton and Eatington (1867).' The
0^
tmmim
2 DRAMA TIS PERSONjE
Le Beu, A Courtier attending on Frederick. 6
Oliver, Eldejl Son to Sir Rowland de Boys, who
had formerly been a Servant of the Duke.
"L , I \ Younger Brothers to Oliver. ^
Orlando, J ^
evidence which French adduces is sufficient, I think, to show that the name as a
monosyllable was well known in Shakespeare's day. If more be needed in proof of
this monosyllabic pronunciation it is settled beyond a peradventure by the coarse,
unsavory anecdote with which Harington begins his Metamorphosis of Ajax, 1596
(p. 17 of Singer's Reprint), which need not be repeated here; Halliwell's word and
mine may be taken for the fact Assimiing, then, this monosyllabic pronimciation, I
think it is not impossible to reconcile it with the passages where the metre demands
two syllables by supposing that, like many other words, such as commandment (see II,
vii, 11^ post) f England f children and the like, there can be, when needed, the sub-
audition of an extra syllable. The fact that Jaques was an old Warwickshire name
takes it out of the rule which applies to foreign names, like Parolles, To me the evi-
dence is conclusive that it was in general pronounced as a monosyllable, Jakes^ and,
when metre required it, there was, I believe, the suggestion of a faint, imemphatic
second syllable.
Having thus discerned the right, let us be human and the wrong pursue. The
name Jakes is so harsh, and so indissolubly associated with the old time < Bowery
boys,' that surely the fervent hope may be pardoned that the name Jerques will never
be pronounced other than Jaq-wes, — Ed.
6. Le Beu] This is the uniform spelling in the Folio, except in the Stage direc-
tion, I, ii, 88, which reads Enter le Beau,
7. Rowland de Boys] French (p. 316) : It is very probable that Shakespeare
took the name of his knight from an old but extinct family of great note in Leicester-
shire and Warwickshire, whose memory was long preserved in the latter county, Sir
Emald or Arnold de Bo3rs, Arnold being easily transposed to Roland, and thence
we have Orlando. The manor of Weston-in-Arden was held by Sir Emald de Bo3rs,
temp. Edw. I, paying yearly to the Earl of Leicester < one hound called a Brache,
and seven pence in money for all services.' There were four generations in succes-
sion of the lords of the manor of Weston-in-Arden^ each of whom is called Sir Emald
de Bosco, or de Boys.
9. Jaques] To avoid confusion with the * melancholy Jaques,' Wieland changed
this to Jakob. Le Tourneur adopted James in his Dramatis Persona^ but by the
time the Fifth Act was reached he had forgotten the substitution, and Jaques, not
JameSy enters on the scene. It was Wieland, I am afraid, who started the custom in
Germany, which has survived, I am sorry to say, even to the present hour, of trans-
lating, and of changing at will, the names of Shakespeare's characters. The infec-
tion spread even to that most admirable translator, Frangois- Victor Hugo. Scarcely
a play of Shakespeare's can be read in German wherein names with which we are all
familiar from our childhood are not distorted and disguised beyond recognition, and
however often they may occur in reading it is always an effort to recall the original.
Who of us, however at home he may be in German, can rect^nize at first sight Frau
Hurtig f or Schaal and StUle, or those two associates lost to everlasting redemption
under the disguise of Hohapfel and Schleewein f Perhaps it may be urged that these
DRAMA TIS PERSONjE 3
Adam^ an old Servant of Sir Rowland de Boys, 10
now following the Fortunes of Orlando.
Dennis, Servant to Oliver.
Charles, A Wrejller^ and Servant to the Ufurping
Duke Frederick.
Touchstone, a Clown attending on Celia and
Rosalind.
?,"^ \ Shepherds.
Sylvius,/ ^ 15
William, a Clown^ in Love with Audrey.
Sir Oliver Mar-text, a Country Curate. 17
names, in that they have a meaning, ought to be translated, and there might be some
justice in the plea if that meaning were always a key to the character. But it is
rarely so. The names are simply those of the lower orders, and to bear, originally, a
meaning is characteristic of all such names ; the meaning, however, had long before
ceased to have any special connection with the present owner of the name. In the
play before us, in the translation of Dr Alexander Schmidt and in that of Herwegh,
the two most recent translators and among the very best, mention is made of Hannchen
Freundlich; who would recognise under this disguise Touchstone's Jane SmUef
Touchstone himself figures as ProbstHn^ and Audrey is K&tkc?un ; and they come
near to be married by Ehren Olivarius Textdreher. Perhaps we should be grrateful
that we are not called upon to read the tragedy of < Ddrfchen^ Prince of Denmark.'
Would our German brothers relish the retaliation which should speak with delight
of Gutter's * Song of the Bell,* or of the tragedy of • Faust and Peggie,* or, better still,
*Pist and Peg*? If this be wellnigh sacrilege, let them be gently reminded that our
Shakespeare names have become a part of the language of our hearths and homes,
and can be no more translated or changed than can the meaning at this late day be
extracted from the Aztec name, America, and our country be referred to as 7^ Hilts,
—Ed.
17. Sir Oliver] Johnson : He that has taken his first degree at the University is
in the academical style called Dominus, and in common language was heretofore
termed Sir. This was not always a word of contempt ; the graduates assumed it in
their own writings; so Trevisa, the historian, writes himself Syr John de Trevisa.
Critical Rbview (Dec. 1765, p. 409) : Had Mr Johnson been more of an anti-
quarian, he would have been a much better editor of Shakespeare. He would then
have known that this is no academical, but a pontifical style. The popes, not to be
behindhand with our kings before the Reformation, arrogated to themselves a power
of knighthood, both in England and Scotland ; and the honour was sold by their
legates or agents to churchmen who could pay for it, which great numbers did in
both kingdoms. Steevens : We find the same title bestowed on many divines in our
old comedies. Nichols : A clergyman, who hath not been educated at the univer-
sities, is still distinguished in some parts of North Wales by the appellation of Sir,
Hence the Sir Hugh Evans in the Merry Wives is not a Welsh knight who hath taken
orders, but only a Welsh clergyman without any regular degree from either of the uni-
versities. Wright : The corresponding Latin < Dominus * still exists in the Cambridge
Tripos lists in its abbreviated form D*.
4 DRAMA TIS PERSONS
Rosalind, Daughter to tfie Duke. i8
Celia, Daughter to Frederick.
Phoebe, a Shepherde/s. 20
Audrey, a Country Wench,
Lords belonging to the two DukeSy with Pages^
ForeJlerSy and other Attendants.
The Scene lyesfirjl near Oliver'j Hou/e^ and after-
wards partly in the Duk^s Courts and partly in 25
the Forejl ^t/" Arden.
17. Mar- text] Neil (p. 45) : Martext was peiliaps employed during the Marpre-
late controversy as a satirical designation for one who could not be expected to give
such expositions of Scripture as more learned vicars were able to do, with a soupfon
of puritanical reference to < blind leaders of the blind.'
18. Rosalind] Fletcher (p. 200) : Few readers may now be aware that RosQ"
linda is, in truth, a Spanish name, — the adjective Undo or linda having no complete
synonym in English, but expressing beauty in the most exalted, combined with the
ordinary sense, — meaning, in short, exquisitely graceful^ beautiful^ and sweet. The
analogy will at once be seen which the image of the graceful rose bears to the
exquisite spirit of Rosalind, no less than to her buoyant figure in all its blooming
charms.
21. Audrey] Halliwell: <Audry, Sax., it seemeth to be the same with Ethel-
dred, for the first foundresse of Ely church is so called in Latine histories, but by the
people of those parts, S. Audry.' — Camden's Remaines, ed. 1629, p. 77. The name
was occasionally used in Warwickshire in the time of Shakespeare. 'Anno 1603, the
ix.th of May, Thomas Poole, and Audry Gibbes, were maried.' — Parish Register of
Aston Cantlowe. Awdrey Turfe is one of the characters in Jonson's Tale of a Tub,
As you Like it.
A 6lus primus. Scoena Prima.
Enter Orlando and Adam.
Orlando.
S I remember Adanty it was vpon this fafhion
bequeathed me by will, but poore a thoufand
Crownes, and as thou faift , charged my bro- 5
ther on his bleffing to breed mee well : and
Scoena] Scena F^F^. Dyce i, Sta. fashum, — he Dyce iii,
An orchard. Rowe. Oliver's House. Huds.
Pope. Oliver's Orchard. Theob. Or- 4. nu by\ nu. By Johns, me: By
chard of Oliver's House. Cap. Steev.
3. fa/hion] my father Warb. Han. poore a] a poore F,. a poor F^F^,
Cap. fashion. He Mai. Var. Coll. ii, Rowe + , Cap. Var. Steev. Coll. Sing.
Ktly. fashion: — Wh. fashion^ — Hal.
5. Crownes"] Crowns F^F^.
As you Like it] Tieck, in Schlegel's translation (vol. iv, p. 308) suggests that the
title of this play, which may have been, he thinks, originally different, was adopted by
Shakespeare as a playful answer either to Ben Jonson's boastfulness in the Epilogue
to Cynthia^ s Revels^ or else to his contempt for his audience expressed in the Induc-
tion to Every Man Out of his Humour, In the former, the Epilogue himself, at a loss
to know how to characterise the play, bursts forth in the last line with, * By 'tis
good, and if you like 't you may ;' and in the latter, Asper, the poet, before he leaves
the stage to take his part as an actor in the performance, says : * Now I go To turn an
actor, and a humorist. Where, ere I do resume my present person. We hope to make
the circles of your eyes Flow with distilled laughter : if we fail. We must impute it
to this only chance, Art hath an enemy call'd ignorance.' Whereto, according to
Tieck, Shakespeare gives answer in the title to this play : 'As you like it, or, just as
you please, it is a Comedy. Not in itself, but just as you, the spectators, choose to
pronounce it by your approval.' * This reference to Ben Jonson,' continues Tieck,
* can be discerned throughout the whole play by the attentive reader who is familiar
with the times and with the works of the rival dramatists.' There seems to be no
foundation for Tieck's surmise ; he overlooked the date of Cynthia's Revels^ which
was first issued in 1601 ; and in Every Man Out of his Humour^ Jonson in a foot-note
expressly disclaims any specific allusions either to the author, that is, to himself, or to
the actors. Lloyd, in Singer's edition, thinks that this title was given in the same
spirit of idleness that pervades and informs so many of the scenes; 'it seems to
AS YOU LIKE IT [act i. sc. i.
Enter Orlando and Adam,
reply carelessly to such a question as " How shall we entitle it ?" asked by men who
are fleeting the time after the fashion of the golden world. ** Laud it as you like it,"
it seems to say, or " as you like it allow it," and this is the tenour of the epilogue of
Rosalind, " I charge you, O women, for the love you bear to men, to like as much of
the play as pleases you," and so with little more strenuousness of exhortation it is left
to its fate, that could not be other than a kind one.* In the * Epistle Dedicatorie To
the Gentlemen Readers,' Lodge, referring to his Novel, sajrs : * If you like it, so.'
This phrase Halliwell surmises may have suggested to Shakespeare the title to the
play ; and Wright thinks * it can scarcely be doubted ' that it is so. Even if we
have to yield assent, as I suppose we must, surely a little fretting and fuming may be
pardoned over this filching, as it were, from Shakespeare of the originality of this title.
At any rate, the words were changed in the transfer, and As You Like It has a charm
which to If You Like It is denied — a charm which Shakespeare infused into all th«
titles of his plays, affording therein a notable contrast to all his contemporaries.
Furthermore, Halliwell says : < Braithwait, however, in his Bamabys Journal
speaks of as you like it as a, proverbial motto, and this seems more likely to imply the
true explanation of the title of Shakespeare's play. The title of the comedy may, on
this supposition, be exactly paralleled with that of Muck Ado about Nothing. The
proverbial title of the play implies that freedom of thought and indifference to cen-
sure which characterizes the sayings and doings of most of the actors in this comedy
of human nature in a forest.' It is well to remember that Bamab/s Journal was
not printed until 1648-50; in it drunken Bamaby' finds the shop where 'OfHcina
juncta Baccho Juvenilem fere tobacco " Uti libet," tunc signata. Quae impressio nunc
mutata, " Uti fiet," nota certa Quae delineatur charta.' Which is thus translated : *A
shop neighboring near lacco, WTiere Young vends his old tobacco : "As you Like it ;"
sometime sealed. Which impression's since repealed : "As you make it ;" he will have
it, And in chart and font engrave it.' — p. 57, ed. 1805. — Ed.
3. The abruptness of this opening sentence, and the need of a nominative to be
understood before ' charged ' have occasioned some discussion, and several emenda-
tions. Warburton pronounces the whole sentence as it stands * confused and obscure.*
But the < very small alteration in the reading and pointing ' which he is about to give
will * set all right.* It is this : — *As I remember, Adam, it was upon this my father
bequeathed me,' &c. * The grammar,' continues Warburton, * is now rectified and
the sense also ; which is this : Orlando and Adam were discoursing together on the
cause why the younger brother had but a thousand crowns left him. They agree upon
it ; and Orlando opens the scene in this manner — ^** As I remember, it was upon this,
i. e. for the reason we have been talking of, that my father left me but a thousand
crowns ; however, to make amends for this scanty provision, he charged my brother,
on his blessing, to breed me well." * This emendation Capell adopted with unwonted
alacrity, and asserted [Notes, i, 54) that there never was one more certain ; seeing that
* it is pointed out and confirmed by the context in so plain a manner as to need no
enforcing : The words " upon this " relate (probably) to some over-spirited action of
Orlando's first youth, that displeas'd his father, and occasion'd the bequest that is
spoken of, and the injunction concerning his breeding : a hint of it was proper ; more
than a hint had been injudicious, as being foreign to the business in hand.' * There
is,' says Johnson, * nothing but a point misplaced and an omission of a word which
every hearer can supply, and which therefore an abrupt and eager dialogue naturally
excludes. I read thus : "As I remember, Adam, it was on this fashion bequeathed
ACTI. sc. L] AS YOU LIKE IT
[this fashion bequeathed . . . charged]
me. By will, but a poor thousand crowns ; and, as thou sayest, charged my brother,
on his blessing, to breed me well." What is there in this difficult or obscure ? The
nominative my father is certainly left out, but so left out that the auditor inserts it, in
spite of himself.' Sir William Blackstone pronoimced Dr Johnson's reading
' awkward English,' and preferred to read thus : <As I remember, Adam, it was in
this fashion. — ^^He bequeathed me by will," &c. Orlando and Adam enter abruptly
in the midst of a conversation on this topic ; and Orlando is correcting some misap-
prehension of the other. As / remember, sa3rs he, it was thus. He left me a thou-
sand crowns ; and, as thou sayest^ charged my brother,' &c. This same reading of
Blackstone was also proposed by Ritson (p. 57) with, however, a different punctua-
tion : — < it was on this fashion he bequeathed me by will,' &c. * From the near resem-
blance,' says Heath, p. 143, * between " fashion " and father^ it seems extremely
probable that this last word was the word omitted, which led in consequence to the
omission also of the possessive my. Read, therefore, <*As I remember, Adam, it waa
upon this fashion ; my father bequeathed me," &c.' Caldecott is satisfied with what
he terms ' the following easy and natural interpretation : ** It was upon this fashion
bequeathed me by [my father in his] will, &c., and, as thou say'st [it was, or he there]
charged my brother," ' &c. But it is not a question of interpretation ; on that score the
passage is perfectly plain, it is simply a question of gnunmatical construction; as
Lettsom says (ap. Dyce, ed. iii) from the use of * it was ' before * bequeathed ' and
' charged,' it is impossible to say whether these two words are aorists or past parti-
ciples ; if they are past participles we have no antecedent for the < his ' in * his bless-
ing ' ; if they are aorists a nominative is lacking to either the one or the other. Dycb
(ed. iii) sa3rs that as ' fashion ' is the last word of the line, he has little doubt that * he '
was omitted by a mistake of the compositor, wherein the present editor agrees with
him, especially when it is remembered how easy would have been the omission if ' he '
were expressed, as it often is, by the single letter, ' a.' At the same time, it is not to
be forgotten that the nominative is sometimes omitted where it can be readily supplied
from the context, as here. — See Ham. II, ii, 67 ; Mer. of Ven. I, i, 102, or Abbott,
§ 399 —Ed.
4. poore a] Caldecott (and Dyce, ed. ii, cites the passage presiunably with
approval) : A is one^ a number. Suppose then the bequest had been two or five or
ten, you see how insufferable would be this expression, * ten poor thousand crowns.'
But further—* a thousand crowns ' are words of the Will, which the speaker quotes ;
and thereby makes them, as 'twere, a substantive to his adjective < poor.' Cf. Ant. &*
Cleop. V, ii, 236 ; * What poor an instrument May do a noble deed.* [There is, how-
ever, no necessity for explaining the construction as a quotation from the Will. Words-
worth (p. 12) points out a similar use in the Bible of the indefinite article prefixed
to plural substantives. Thus in] Luke ix, 28, we read, *■ It came to pass about an
eight days after these sayings,' where the expression * an eight days ' has been retained
from Tyndale's trans, in 1534. In like manner, in the Apocryphal Book, I Mace, iv,
15 : * There were slain of them upon a three thousand men.' Wright and Rolfs
apparently regard < poor ' as a simple adjective, and the present case as an instance of
the common transposition of the article, and refer to Abbott, § 422 ; but Abbott him-
self refers this passage to § 85, and considers * poor ' as used adverbially ; which is
perhaps a little strained. To me the simplest explanation would be to consider it as
a transposition not of the article but of the adjective, for the sake of greater empha-
sis ; which is, after all, practically the same as Wright's and Rolfe's explanation.— Ed.
8 AS VOC/ LIKE IT [act i, sc. i.
there begins my fadneffe : My brother laques he keepes 7
at fchoole, and report fpeakes goldenly of his profit :
for my part^he keepes me ruftically at home, or (to fpeak
more properly) ftaies me heere at home vnkept : for call 10
you that keeping for a gentleman of my birth, that dif-
fers not from the flailing of an Oxe ? his horfes are bred
better, for befides that they are faire with their feeding,
they are taught their mannage, and to that end Riders
deerely hir'd : but I (his brother) gaine nothing vnder 15
7. /adnejfe /] sadness. Pope et seq. 10. Jlates"] ftayes F^F^. ftays F^.
stys Warb. Sing.
7. laques] Apart fVom the fact that in the introduction of this character here and
at the close of the story Shakespeare merely follows Lodge, there may be found, I
think, an additional reason for it in the dramatic needs of the Fifth Act. In that Act
it is needful that we should at once see how the changed fortune of the Senior Duke
afiects also the fortunes of Oliver and Orlando; and this connection in fortune is
instantly suggested to us by seeing in Jaques, the messenger of good tidings, a brother
of the two men in whom we are most interested. That the name Jaques was not only
given to this character, but retained after the introduction of another and more promi-
nent Jaques, is a proof either of haste (as Wright ingeniously suggests, and wherein I
agree) or of careless indifference. But the character itself, a third brother, whatsoever
his name, was retained, I believe, to meet the requirements of the close of the drama.
Peihaps, too, it was to meet those same requirements that, in the tender treatment of a
younger brother by Oliver, and in the latter's capacity to discern the Bne traits in
Orlando's character, we are to detect the elements of a better nature in Oliver, a soul
of goodness in things evil, which will need but the refining influence of Celia's love to
work a satisfactory reformation of his character, and thus go far to obliterate, or at
least to soften, in this charming play *■ the one smirch ' therein, which Swinburne finds
in the marriage of Celia and Oliver. — Ed.
8. schoole] There was apparently no distinction drawn between a School and a
University. Hamlet went to 'school* in Wittenberg.
10. stales] Warburton, whose cacoethes meliorandi was, of a truth, insanabihy
here proposed to substitute stiesy and, with more assurance than logic, asserts that the
emendation is confirmed by the subsequent allusion to ' stalling of an ox.* Even Dr
Johnson was overborne, and pronounced sties not only better, but more likely to be
Shakespeare's word. Mason (p. 80) cogently observes that * if sties had been the
original reading the subsequent comparison would have been taken from hogs, not
from oxen.* Dyce in his first edition pronounced Warburton's emendation 'very
probable,' and asserted that there was * not the slightest force in the objection urged
against it by Mason,' — a note which Dyce withdrew in his third edition. There is no
emphasis here, I think, on the word ' stays * ; any emphasis on this word would in
fact impair the antithesis between < keep ' and * unkept,* which is meant to be of the
strongest. — ^Ed.
14. mannage] This good English translation (whereof see many examples in
Schmidt s. v.) is now, I think, quite lost, and we have returned to its French original,
wumkge.'—^li.
ACT I. sc. i.] AS YOU LIKE IT 9
him but growth, for the which his Animals on his 16
dunghils are as much bound to him as I : befides this no-
thing that he fo plentifully giues me, the fomething that
nature gaue mee, his countenance feemes to take from
me : hee lets mee feede with his Hindes, barres mee the 20
ig.caunt^fMnce^discountenance'SNBxh, 20. Hindes] hinds Y ^,
Han.
19. countenance] Warburton reads discountenance; Johnson pronounces the
change needless, *■ a countenance is either good or bad ;* and here it means, says
Capell, * an evil countenance.' Caldecott interprets it, < the mode of his carriage
towards me,' which Dyce cites with approval. Wright gives its meaning as * favour,
regard, patronage,' and ScHhfiDT as * appearance, deportment.' It is not difficult to
paraphrase it on these lines, so as to meet the requirements of an expression which
we all of us almost instinctively understand at once. And yet I cannot but think
that Walker has here detected a refinement of meaning which has been hitherto
unobserved. He asks {^Crit. iii, 59): 'Does not "his countenance" here mean
his entertainment of me^ the style of living which he allows me ? Selden's Table
Talky art. Fines : " The old law was, that when a man was fined he was to be fined
salvo contenementOj so as his countenance might be safe, taking countenance in the
same sense as your countryman does, when he says. If you will come unto my
house I will show you the best countenance I can ; that is, not the best face, but the
best entertainment. The meaning of the law was, that so much should be taken
from a man, such a gobbet sliced off, that yet notwithstanding he might live in the
same rank and condition he lived in before ; but now they fine men ten times more
than they are worth." Such, I think, is the meaning of the word in Chaucer, Per-
sones TaUf Remedium Luxuria : " This maner of women, that observen chastitee,
must be clene in herte as well as in body and in thought, and mesurable in clothing
and in contenance^ abstinent in eting and in drinking, in speking and in dede," &c.
Spenser, Shepheards Calender ^ JEj^. v [1. 81, ed. Grosart] : ** But shepheards (as
Algrind used to say) Mought not live ylike, as men of the lay : With them it fits to
care for their heire, Enaunter ther heritage doe impaire; They must provide for
meanes of maintenaunce, And to continue their wont countenaunce." So understand,
Faerie Queene, Bk. v, cant, ix [1. 239, ed. Giosart] : " Then was there brought as pris-
oner to the barre, A Ladie of great coimtenance and place. But that she it with foul
abuse did marre ;" &c.' Walker also cites an example from Ford, but it is not per-
fectly clear to me that in this case the meaning is the same ; Dog, a Familiar devil,
in The Witch of Edmonton^ says to Cuddy Banks (p. 263, ed. Dyce): *Nor will I
serve for such a silly soul : I am for greatness now, corrupted greatness ; There I'll
shug in, and get a noble countenance ;' &c. — ^Ed.
19. seemes] Capell thinks that * we have here another example of that singular
usage of the conmion verb << seem " which is so conspicuous in ' Macb. I, ii, 46 : ' so
should he look That seems to speak things strange, and lb. I, v, 27 : < Which fate
and metaph3rsical aid doth seem To have thee crown'd withal ;' * in both of which it
comprehends the idea of desire or intention ; so here " seems to take from me " means
— seems as if it wished to take from me.' I think this is slightly over-refined. Give
to 'seem' its common meaning of appear, and is not then the wish or the will
implied ?— Ed.
lO
AS YOU LIKE IT
[act I. sc. i.
place of a brother, and as much as in him h'es, mines my
gentility with my education. This is it Adam that
grieues me, and the fpirit of my Father, which I thinke
is within mee, begins to mutinie againft this feruitude.
I will no longer endure it, though yet I know no wife
remedy how to auoid it.
Enter Oliuer,
Adam. Yonder comes my Mafter,your brother.
Orlan, Goe a-part Adamy and thou (halt heare how
he will fliake me vp.
OIL Now Sir, what make you heere ?
OrL Nothing : I am not taught to make any thing.
Olu What mar you then fir ?
OrL Marry fir , I am helping you to mar that which
God made , a poore vnworthy brother of yours with
idleneffe.
Oliuer, Marry fir be better employed, and be naught
a while.
21
25
30
35
3«
27. Scene II. Pope + .
Enter...] After line 30, Coll. et seq.
29. a-part'\ apart Ff.
30. Adam retires. Dyce, Coll. ii.
31. heere f\ heare? F,. here; F^.
here? F^.
33» 34- fnar'\ marre F,F,.
37. be naught"] do aught Han.
nought Warb. Johns. Cap.
bi
20. Hindes] Skeat i^Dict. s. ▼.) : A peasant. The d is excrescent. Anglosaxon
hlna^ a domestic ; but the word is miauthenticated as a nom. sing., and is rather to be
considered a gen. pi. ; so that hlna really stands for hlna man «■ a man of the domes*
tics. [I have heard an Irish farmer in this comitry constantly use the word when
referring to farm-labourers. — Ed.]
20. barres] Abbott, § 198: Verbs of ablation, such as bar^ banish^ forbid^ often
omit the preposition before the place or inanimate object Thus, * We'll bar thee
from succession.* — Wint. T. IV, iv, 440, or * dy succession * — Cymb. Ill, iii, 102,
becomes * Bars me the place,* [in the present instance], and also in Mer. of Ven,
II, i, 20.
21. mines] Wright: Undermines the gentleness of my birth, and so destroys it
31. make] Steevens: That is. What do you here? So, in Ham. I, ii, 164.
Caldecott : We find the same play upon the word between the King and Costard
in Lovers Lab. L. IV, iii, 190.
34. Marry] Wright : An exclamation from the name of the Virgin Mary, used as
an oath. Here it keeps up a poor pun upon * mar.*
37, 38. be naught a while] Warburton, after a fling at Theobald, says that this is
a North-country proverbial curse equivalent to a mischief on you. So, Skelton [Agaynste
A Comely Coystrowne^ 1. 62] * Correct fyrst thy self; walk, and be nought ! Deme
what thou lyst, thou knowyst not my thought* * Or rather,* says Capell, * Be hang'd
to you ! for that is now the phrase with the vulgar.* Steevens pronounced Warbur-
ACT I, sc. i.] AS YOU LIKE IT ii
Orlan. Shall I keepe your hogs, and eat huskes with
them? what prodigall portion haue I fpent,that I ftiould 40
come to fuch penury ?
OH. Know you where you are fir ?
OrL O fir, very well : heere in your Orchard.
Olu Know you before whom fir ?
Orl. I, better then him I am before knowes mee : I 45
44. whom] home Fj. 45. him"] he Pope + , Cap. Steev. Coll.
45. /, better] Ay, better Rowe. Sing, Clke, Ktly, Huds.
45. then] than F^.
ton's explanation * far-fetched/ and said that the words meant < no more than this :
" Be content to be a cypher, till I shall think fit to elevate you in consequence." It
was certainly a proverbial saying, and is fotmd in The Storie of King Darius^ 1565 :
" Come away, and be nought awhile. Or surely I will you both defyle." ' Johnson,
until he had learned the meaning from Warbtuton, supposed the phrase to mean : < It
is better to do mischief than to do nothing.' Whiter affirms that the meaning is
manifestly : ^Retire^ — begone^ or as we now say in a kind of quaint, colloquial lan-
guage, make yourself scarce^ — vanish^ — vote yourself an evanescent quantity* GiF-
FORD, in a note on Jonson's Bartholomew Fair (p. 421, where the phrase *be curst
awhile ' occurs), lashes, of course, Steevens and Malone (' from Mr Whiter,' he sighs,
< better things might be expected '), and then states that < the explanation of Warbur-
ton is as correct as it is obvious, and may be proved <* by witnesses more than my pack
will hold." It will be sufficient to call two or three : " Peace and be naught I I
think the woman be phrensic " — Tale of a Tub [II, i, p. 160] ; " If I stir a foot,
bang me; you shall come together yourselves, and be naught" — Greenes Tu Quoque
[p. 206, ed. Hazlett]. It is too much, perhaps,' he continues, < to say that the words
" an hour," " awhile," are pure expletives, but it is sufficiently apparent that they have
no perceptible influence on the exclamations to which they are subjoined. To con-
clude, be naughty hanged^ curst^ &c. with, or without an hour, a white, wherever found,
bear invariably one and the same meaning ; they are, in short, petty and familiar male-
dictions, and cannot be better rendered than in the words of Warburton — a plague, or
a mischief on you !* Dyce (Remarks, p. 60) : Since the origin of verbal criticism,
nothing more satisfactory has been written than the copious note of Gifford
The first part of Warburton's note is wrong ; the expression was certainly not confined
to the * North country.*
40. prodigall portion] This may be a case of prolepsis ; that is, ' what portion
have I prodigally spent ;' thus also * the gentle condition of blood * in line 46, * the
condition of gentle blood,* or as in *two weak evils, age and hunger,* II, vii, 138,
and elsewhere. Schmidt's Lexicon (p. 1420) gives many instances. Or, since the
allusion is so clear to the Parable, it might be possibly the genitive of apposition, and
equivalent to 'what prodigal's portion have I spent;' in this case the two words
should be joined by a hyphen. — Ed.
45. him] For other examples of where * him ' is put for he, by attraction to whom
understood, see Abbott, § 208. Here the * whom * precedes so closely that it might
be almost termed a case of attraction through proximity.
45, &c. The emphasis here is, I think : */ know you are my eldest brother, &c.,
12 AS VOC/ LIKE IT [act i, sc. i.
know you are my eldeft brother, and in the gentle con- 46
dition of bloud you fhould fo know me : the courtefie of
nations allowes you my better , in that you are the firft
borne, but the fame tradition takes not away my bloud,
were there twenty brothers betwixt vs : I haue as much 50
of my father in mee, as you, albeit I confeffe your com-
ming before me is neerer to his reuerence.
OIL What Boy. rthis.
Orl. Come, come elder brother, you are too yong in 54
47. me .•] me. Johns. ^2^- ^^1 ^^> — Cap.
50. vs:"] us. Pope. 53. menacing him with his hand.
51. mee^asyaui] me ; cts you^Y^ me^ Johns, strikes at him. Wh. ii.
as you; F^F^, Rowe et seq. 54. collaring him. Johns, takes him
51, 52. your. ..reuerence.'] you coming by the throat. Wh. ii.
before me are nearer to his revenue Han.
9Xidiyou should so know me.^ * " So ** is here,' says Allen, * equivalent to accordingly,
in pursuance of the same obligation : if / am to know you as a brother (the eldest),
you are bound to know me as a brother (the youngest).* According to Wordsworth
(p. 36), * know ' is used here in the biblical sense of ctcknowledge.
52. reuerence] Warburton : That is. The * reverence * due to my father is, in
some degree, derived to you as the first-bom. But I am persuaded that Orlando did
not here mean to compliment his brother or condemn himself; something of both
which there is in that sense. I rather think he intended a satirical reflection on his
brother, who by letting him feed with his hinds treated him as one not so nearly
related to old Sir Robert [sic] as himself was. I imagine, therefore, Shakespeare might
write : Albeit your coming before me is nearer his revenue^ i. e. though you are no
nearer in blood, yet it must be owned, indeed, you are nearer in estate. Capell
highly approved of this emendation, and added that < Oliver's taking fire as he does,
which gives occasion to his brother to collar him, was caused by something in the tail
of this speech that gave him offence ; and this he could not find in the submissive
word " reverence." * Whiter : Orlando uses the word in an ironical sense, and
means to say that his ' brother by coming before him is nearer to a respectable and
venerable elder of a family.* The phrase His reverence is still thus ironically
applied, though with somewhat of a different meaning, and we frequently use the
expression your worships both with a grave and ludicrous signification nearly in the
same manner. This sense will account for the anger of Oliver, and for the words
which they mutually retort upon each other respecting their ages in the next two
lines. It is extremely curious that Shakespeare has caught many words, and even
turns of expression, belonging to the novel from which the play is taken ; though he
has applied them in a mode generally different and often very remote fix>m the orig-
inal. This has certainly taken place in the present instance, and the passage which
contains it will likewise supply us with another example. Rosader or Orlando is
introduced making his reflections on the indignities which be bad suffered from his
brother Saladine or Oliver. 'As he was thus ruminating his melancholy passions, in
came Saladine with his men, and seeing his brother in a brown study and to forget
his wonted retference^ thought to shake him out of his dumps.* Orlando says in
ACT I. sc.i.] AS YOU LIKE IT 13
Olu Wilt thou lay hands on me villaine? 55
OrL I am no villaine : I am the yongeft fonne of Sir
Rowland de BoySy he was my father, and he is thrice a vil-
laine that faies fuch a father begot villaines : wert thou
not my brother , I would not take this hand from thy
throat, till this other had puld out thy tongue for faying 60
fo, thou haft raild on thy felfe.
Adam. Sweet Mafters bee patient , for your Fathers
remembrance, be at accord.
Oli. Let me goe I fay.
OrL I will not till I pleafe : you (hall heare mee ; my 65
&ther charged you in his will to giue me good educati-
on : you haue train'd me like a pezant, obfcuring and 67
57. Boys] Rowe+i Cap. Mai. CaxxL 62. Adam.] Adam (coming forward)
Rife, Wh. ii. Boyes Ff. B<ns Steev. CoU. Dyce, Sta.
ct cct. 62. Ma/iers] Mafter Ff, Rowe.
60. ptdd'l puird FjF^. 67. fne] me up FjF^, Rowe + .
tl.fo^fo; F^. so. (shaking him) pe%afU\ pea/ant Y ^,
CoU. ii.
Shakespeare : ' Go apart, Adam, and thou shall hear how he will sfmke me up.' [It
is evidently the irony in the tone, whatever the word, which inflames Oliver; as
Whiter shows, that word may well be * reverence.' — Ed.]
53. Boy] Coleridge (p. 7) : There is a beauty here. The word * boy ' naturally
provokes and awakens in Orlando the sense of his manly powers ; and with the retort
of ' elder brother,' he grasps him with firm hands and makes him feel he is no boy.
54. Staunton : The obscurity in this line is at once cleared up by a passage in the
original story : * Though I am eldest by birth, yet, never having attempted any deeds
of arms, I tasi youngest to perform any martial exploits.' Stimg by the sarcastic allu-
sion to his reverence, Oliver attempts to strike his brother, who seizes him, observing at
the same time, ' You are too young at this game of manly prowess ; in this, I am the
elder.' Neil : This play upon words has more in it than meets the ear. *■ Elder '
not only means ' one bom before another,' but also the name of the plant Sambucus,
the elder-tree or ald^-tree, Hit pith of which is large, light, and little worth. Hence
the Host calls Dr Caius contemptuously *my heart of elder' — Merry Wives, H, iii,
3 — as equal to ' faint-hearted one.' There was also a tradition * Judas was hanged on
an elder' — [Lov^s Lab. Z., V, ii, 610), and from this it became suggestive of treach-
ery and deceit. The phrase therefore signifies, < My faint-hearted, deceitful first-bom
brother, you are too young (you give me a title betokening rather fewer years than I
have attained to) in this epithet '* boy !" ' [The action here is so distinctly set forth
that stage directions, and some editors have inserted them, are wholly superfluous, if
not intrusive.— Ed.]
55. villaine] Johnson : This word is used by Oliver in its present meaning for a
worthless, wicked, or bloody man ; by Orlando in its original signification, for a fellow
of base extraction.
67, 68. obscuring . . . qualities] Allen (MS) : < Qualities ' is equivalent to qual-
14 AS YOU LIKE IT [act i, sc. i.
hiding from me all gentleman-like qualities : the fpirit 68
of my father growes ftrong in mee, and I will no longer
endure it : therefore allow me fuch exercifes as may be- JO
come a gentleman , or giue mee the poore allottery my
father left me by teftament, with that I will goe buy my
fortunes.
OH. And what wilt thou do ? beg when that is fpent?
Well fir , get you in . I will not long be troubled with 75
you : you fhall haue fome part of your will , I pray you
leaue me.
OrL I will no further offend you, then becomes mee
for my good.
OH. Get you with him, you olde dogge. 80
Adam. Is old dogge my reward : moft true , I haue
loft my teeth in your feruice : God be with my olde ma-
tter, he would not haue fpoke fuch a word. Ex. Orl. Ad.
OH. Is it euen fo, begin you to grow vpon me ? I will 84
68. from fm'] me from Pope, Han. iii.
74. do? beg\ do— beg? — Dyce iii. 83. Scene III. Pope+.
79. good^ good, (releasing him) Coll. 84. /^,J so f Rowc.
ificatians. Perhaps : obscuring {ca^il^uv) [in me] my own gentlemanlike qualities,
and hiding from me those, which I might see and imitate, from without (f. e, in the
persons of others). Cf. / Hen, VI: V, i, 22, * Yoa have suborned this man Of pur-
pose to obscure my noble birth.' Hen, V: I, i, 63, 'And so the Prince obscured bis
contemplation Under the veil of wildness.'
74, 75. thou . . . you] Throughout this quarrel between the brothers, and through-
out the subsequent conference between Oliver and Charles, it is worth while to observe,
and to appreciate if we can, the use of < thou ' and < you,' which appears, at first sight,
to be almost indiscriminate. Skeat's admirable and general rule, given in his Prefaa
to William of Paleme^ p. xlii, and cited in this edition at 0th. II, ii, 275, and at
Mer. of Ven. I, ii, 35, should be borne in mind : *Thou is the language of a lord to
a servant, of an equal to an equal, and expresses also companionship, love, permission,
defiance, scorn, threatening ; whilst ye is the language of a servant to a lord, and of
compliment, and further expresses honour, submission, entreaty.' Abbott, § 235, says
that in almost all cases some change of thought or some influence of euphony may be
detected which will prove sufficient to account for a change of pronoun ; and further-
more (§ 232), when the appellative * sir ' is used even in anger, thou generally gives
place to you. It is well worth while to ponder the varying shades of emotion thus
indicated here. — Ed.
76. will] Is there not a contemptuous emphasis on this word, which may bear a
double meaning, in its reference to their father's Will which Orlando had invoked ?
In a modem text, I think, it might well be printed with quotation-marks.— Ed.
84. grow] Collier (ed. i) : This is probably right, in reference to the < rankness '
mentioned in the next line ; but it has been suggested to me, that possibly Shakespeare
ACT I, sc. L] AS YOU LIKE IT 15
phyficke your ranckenefle, and yet giue no thoufand 85
crownes neyther : holla Dennis.
Enter Dennis.
Den. Calls your worfhip /
OH, Was not Oiarles the Dukes Wraftler heere to
fpeake with me? 90
Den. So pleafe you, he is heere at the doore, and im-
portunes accefle to you.
OH. Call him in : 'twill be a good way : and to mor-
row the wraftling is.
Enter Charles. 95
Cha. Good morrow to your worfhip.
OH. Good Mounfier Charles : what's the new newes
at the new Court? 98
89. WraftUr\ WraftU F^. Wrestler 93. Exit Dennis. Johns, et seq.
Rowe.
wrote, ^ growl w^n me/ following up the simile of the *• old dog/ which Oliver had just
applied to Adam. [It is scarcely worth while to do more than to record this emenda-
tion, which Halliwell has adequately estimated by remarking that growl would refer
to Adam, whereas this speech clearly refers to Orlando. Wright interprets * grow
upon * by encroach^ and cites Jul. Cas. II, i, 107 : * Here, as I point my sword, the
sun arises. Which is a great way growing on the south.' Haluwell paraphrases x
' to increase in disobedience to my authority.' I think it means simply that Oliver is
beginning to find out that Orlando is growing too big on his hands to be treated any
longer like a boy. Neil, however, asserts that * grow * is * a provincialism for swell,
become sulky, murmur, repine.* — Ed.]
85. ranckenesse] Wright : Luxuriant growth, exuberance ; hence, insolence.
89. Wrastler] The pronunciation, as indicated by this spelling, is still general
among the common people in this country, as will at once occur to all who have read
—and who has not ? — Bret Harte's * Luck of Roaring Camp.' — Ed.
97. Good] In one of Walker's excellent articles, which he rather infelicitously
names * Omission by Absorption,' it b suggested (Cril. ii, 263) that the text here
should be * Good morrow, monsieur Charles,' &c. I think there can be no doubt of
it The morrow, however, was not * absorbed,' but omitted altogether ; the compos-
itor's eye was misled by the ' morrow * directly above in the preceding line. — ^Ed.
97. Charles :] Capell {Notes, 55) says that the true punctuation here is a note
of admiration, and then * the force of the speech, duly pronounced, will be : " Ah,
good monsieur Charles ! are you here ? — ^Well, what's the," &c.*
98. new Court] I mistrust this ' new.' If Oliver was aware that there was a
' new ' court, Charles's information that the old duke had been banished (which fact
had created the 'new court') would have been quite superfluous, and he would
scarcely have referred to this banishment as * old news.* Moreover, in repeating a
question he who is questioned naturally repeats the very words. Charles's failure, in
the text, to do this when he repeats Oliver's question, not only casts an additional
i6 AS YOU LIKE IT [act i, sc. i.
Charles. There^s no newes at the Court Sir, but the
olde newes : that is, the old Duke is banifhed by his yon- 100
ger brother the new Duke, and three or foure louing
Lords haue put themfelues into voluntary exile with
him , whofe lands and reuenues enrich the new Duke ,
therefore he giues them good leaue to wander.
OIL Can you tell \{ Rofalind the Dukes daughter bee 10$
banifhed with her Father ?
Cha, O no ; for the Dukes daughter her Cofen fo
loues her, being euer from their Cradles bred together,
that hee would haue followed her exile, or haue died to
ftay behind her ; fhe is at the Court, and no leffe beloued I lO
of her Vncle, then his owne daughter, and neuer two La-
dies loued as they doe.
OIL Where will the old Duke Hue ?
Oia. They fay hee is already in the Forreft oi Arden, 1 14
X02. into] into a F^F^, Rowe. 107. Dukes'] new Duk^s Han. Warb.
103. reuenues] vevenues F^. Johns. Cap. Coll. iii.
105. Dukes] old Duk^s Han. Johns. 109. hee] he F,. Jhe F^F^ et seq.
CoU. iii. her] their FjF^, Rowe.
suspicion on < new/ as I think, bat also suggested to Lettsom (ap. Dyce, ed. iii) to
ask : * Ought we not to read, There's no new news, &c. ?'— Ed.
105, 107. Dukes] Hanmer's emendation (see Text. Notes), which is also found
in Collier's (MS), met with Johnson's approval as * necessary to the perspicuity of the
dialogue,' and Dyce also considered it * highly probable that Shakespeare so wrote.*
But in Malone's opinion the change is ' unnecessary ; the ambiguous use of the word
** duke '* in these passages is much in Shakespeare's manner.' Heath, also, disap-
proved of the change, ' which could proceed only from an itch of emendation. The
words which follow, " her cousin," sufficiently distinguish the person intended.' Un-
questionably, Hanmer's emendation makes the passage clearer, but, I think, any edi-
tor now-a-days would be * temerarious ' who shoidd adopt it. — Ed.
109. hee] A misprint easily detected.
109, no. to stay] That is, in staying behind her. See II, vii, 182; III, v, 66;
V, ii, 103 ; also, for this indefinite use of the infinitive, Abbott, § 356, and Shake-
speare passim,
114. Forrest of Arden] M alone: Ardenne is a forest of considerable extent in
French Flanders, lying near the Meuse and between Charlemont and Rocroy. It is
mentioned by Spenser in his Astrophel [1596, line 93, ed. Grosart] : < Into a forest
wide, and waste he came Where store he heard to be of saluage pray. So wide a
forest and so waste as this, Nor famous Ardeyn, nor fowle Arlo is.* But our author
was furnished with the scene of his play by Lxxige's Novel. [The foregoing passage
from Spenser, Malone cited as from Colin Clouts Come home againe. The citations
by the earlier editors have to be so frequently corrected that I never think it worth
while to call attention to the trifling and venial misprints, which nevertheless do seem
ACT I, sc L] AS YOU LIKE IT 17
[114. Forrest of Arden]
to have a mission when, as in the present case, they mislead subsequent editors, who,
having ' conveyed ' without acknowledgement the learning of their predecessors, stand
betrayed by the adoption of errors. In the present instance there is abundant excuse
for Malone. The running title of Aitropkel is, as Grosart has pointed out, through a
printer's error, Colin Clouts Come home againe. — Ed.] Knight : Nothing can more
truly show how immeasurably superior was the art of Shakespeare to the art of other
poets than the comparison of Lodge's description [see Appendix] with the incidental
scene-painting of his forest of Arden. It has been truly and beautifully said {Edin,
Rev, vol. xxviii) of Shakespeare : *A11 his excellences, like those of Nature herself,
ve thrown out together, and, instead of interfering, support and recommend each
other. His flowers are not tied up in garlands, nor his fruits crushed into baskets,
but spring living from the soil, in all the dew and freshness of youth.' But there are
critics of another cast, who object to Shakespeare's forest of Arden, situated, as they
hold, *■ between the rivers Metise and Moselle.' They maintain that its geographical
position ought to have been known by Shakespeare, and that he is consequently most
vehemently to be reprehended for imagining that a palm-tree could flourish, and a
lioness be starving, in French Flanders. We most heartily wish that the critics would
allow poetry to have its own geography. We do not want to know that Bohemia has
no sea-board ; we do not wish to have the island of Sycorax defined on the map ; we
do not require that our forest of Arden should be the Arduenna Sylva of Csesar and
Tacitus, and that its rocks should be ' clay-slate, grauwacke-slate, grauwacke, con-
glomerate, quartz-rock and quartzose sandstone.' We are quite sure that Ariosto was
thinking nothing of French Flanders when he described how * two fountaines grew.
Like in the tast, but in effects unlike. Placed in Ardenna^ each in other's vew : Who
tasts the one, love's dart his heart doth strike ; G)ntrary of the other doth ensew. Who
drinke thereof, their lovers shall mislike ' [i, st. 78, ed. 1634]. We are equally sure
that Shakespeare meant to take his forest out of the region of the literal when he
assigned to it a palm-tree and a lioness. Lady Morgan tells us, ' The forest of Ardennes
smells of early English poetry. It has all the g^reenwood freshness of Shakespeare's
scenes ; and it is scarcely possible to feel the truth and beauty of his exquisite As You
Like It without having loitered, as I have done, amidst its tangled glens and mag-
nificent depths.' We must venture to think it was not necessary for Shakespeare to
visit Ardennes to have described <An old oak, whose boughs were moss'd with age.
And high top bald with dry antiquity;' and that, although his own Warwickshire
Arden is now populous, and we no longer meet there *■ a desert inaccessible,' there are
fifty places in England where, with the As You Like It in hand, one might linger
* from noon to dewy eve,' and say, *Ay, now am I in Arden.' Fran(;ois-Victor
Hugo (p. 54) : Apercevez-vous au bout dc cette clairiire cette for^t profonde dont
I'automne dore les cimes m61ancoliques ? C'est la forfit des Ardennes! Mais ne
vous y trompez pas, ce n'est pas la forfit historique \ travers laquelle la Meuse conduit
i la derive le touriste charm6. Vous ne trouverez dans ces halliers ni le manoir
d'Herbeumont, ni le ch&teau-fort de Bouillon, ni la grotte de Saint-Remacle. La
for^t od nous transporte le po^te n'a pas d'itin6raire connu; aucune caite routi^re n'en
fait mention, aucun gtographe ne I'a d6frich6e. — C'est la forftt vierge de la Mtise.
EUe rassemble dans sa p^pini^re unique toutcs les vegetations connues : le sapin dn
Nord s'y croise avec le pin du Midi, le chfine y coudoie le c^dre, le houx s'y accli-
mate i I'ombre du palmier. Dans scs taillis antediluviens I'Arche a vide toute sa
menagerie; le serpent de Tlnde rampe dans les hautes herbes qu'effloure le daim
i8 AS YOU LIKE IT [act I, sc. i.
[114, Forrest of Arden]
efTar^ ; le rugissement de la lionne y fait envoler un essaim de cerfs. — Li la guerre et
la vanity humaines n'ont jamais k\.h admises d b&tir leurs demeures : li, ni palais ni
forteresses. Tout au plus, sur la lisidre du bois, quelque humble toil de chaume.
[Halliwell notes Drayton's reference, in his Fifty-third Idea^ to * Where nightingales
in Arden sit and sing, Amidst the dainty dew-impearl^d flowers,' and * to " the rough
woodlands" of Arden described in Poly-Olbion.' But this description in Po/y-Olbian
seems to me far more noteworthy than is the bare mention of the name as it occurs in
the Id^a ; the mere name Arden is to be found in other Id^as as well as in the Fifty-
third. The first hundred and fifty lines, more or less, of the Thirteenth Song of Poly-
Olbian are devoted to a description of the Forest of Arden in Warwickshire, and on
this description Drayton dwells with especial affection, apostrophising Warwickshire
as his own * native country which so brave spirits hast bred.' Is this a gentle nod of
recognition to Shakespeare ? The Song then goes on to say that of all the forests in
Britain, this is the greatest, and that *■ We equally partake with wood-land as with
plain, AUke with hill and dale ; and every day maintain The sundry kinds of beasts
upon our copious wastes That men for profit breed, as well as those of chase.* Here
all birds are to be found, the * throstel, with shrill sharps,* * the nightingale hard by,'
' the woosel near at hand, that hath a golden bill ;' and here also are ' both sorts of
seasoned deer; Here walk the stately red, the freckled fallow there : The bucks and
lusty stags amongst the rascals strew' d. As sometimes gallant spirits amongst the mul-
titude.* A hunt is then described, horns are sounded and the hunters cheer, and
* being then imbost, the noble stately deer WTien he hath gotten ground (the kennel
cast arrear) Doth beat the brooks and ponds for sweet refreshing soil,' imtil at last,
* opprest by force. He who the mourner is to his own dying corse. Upon the ruthless
earth his precious tears lets fall.' But this is not all, everything which sorts with
solitude is to be found here. The hermit here * leads a sweet retired life,* * From the
lothsome airs of smoky-citied towns.' * Suppose twixt noon and night, the sun his
halfway wrought,' * the hermit comes out of his homely cell,' * Who in the strength of
youth, a man at arms hath been ; Or one who of this world, the vileness having seen.
Retires him fix)m it quite ; and with a constant mind Man's beastliness so loaths, that,
flying human kind. The black and darksome nights, the bright and gladsome days,
Indiflerent are to him.' * This man, that is alone a king in his desire. By no proud
ignorant lord is basely over-aw'd ;' * nor of a pin he weighs What fools, abused kings,
and humorous ladies raise.* * Nor stirs it him to think on the imposter vile, WTao
seeming what he's not, doth sensually beguile The sottish purblind world ; but, abso-
lutely free. His happy time he spends the works of God to see.* I have given these
extracts from Drayton, to which I am not aware that attention has ever been called, not
only to show the deep impression on him which his friend Shakespeare's As You Like
It had made, so that we seem to hear the very echo of the words of Jaques and of the
Duke, but to show that to Drayton as well as to every listener at the play the * Forest
of Arden * was no forest in far-away France, but was the enchanted ground of their
own home. That Shakespeare intended it to be so regarded, and meant to keep his
audience at home, no matter in what foreign country soever the scene be laid, may be
detected, I think, in the allusion to * Robin Hood,' a name around which clustered all
the romance of forest life. Let that name be once uttered as a key-note, and every
charm of a life under the greenwood tree, be it in the forest of Sherwood or of Arden,
is summoned up and the spell of the mighty magician bcgins.-ȣD.]
ACT I, sc. i.] yiS YOU LIKE IT 19
»
and a many merry men with him ; and there they Hue 1 1 5
like the old Robin Hood of England*, they fay many yong
Gentlemen flocke to him euery day , and fleet the time
carelefly as they did in the golden world.
OH. What , you wraftle to morrow before the new
Duke. 120
Cha. Marry doe I fir : and I came to acquaint you
with a matter : I am giuen fir fecretly to vnderftand, that
your yonger brother Orlando hath a difpofition to come
in difguis'd againft mee to try a fall : to morrow fir I
wraftle for my credit , and hee that efcapes me without 125
fome broken limbe, fhall acquit him well : your brother
is but young and tender, and for your loue I would bee
loth to foyle him, as I muft for my owne honour if hee 128
121. came] come F^, Rowe, Pope, Han.
115. a many] For many other instances of the insertion of a before numeral
^jectives, see Abbott, § 87.
115, 116. and there . . . England] Schmidt, in his admirable revision of
SchlegePs translation, thus translates this sentence : * und da leben sie wie Zigeuner-
volk/ Few examples could better illustrate than this how emphatically, how in-
eradicably, Shakespeare belongs to England, and how impossible it is to transplant
him to any foreign soil. Surely never a foreigner lived who better mastered the lan-
guage of Shakespeare than he to whom we all owe gratitude for the Shakespeare-
Lexicon^ and yet on his ears the name Robin Hood falls with a dull, unmeaning
sound ; and all that band of merry men, who * in summer-time when leaves grow
green. And flowers are fresh and gay,' with Will Scarlet and Little John fleeted the
time carelessly^ — all this band, the gods of every English-speaking boy's idolatry and
summed up in the one name Robin Hood, is to the learned Gennan merely ' a band
of gypsies.' — Ed.
117. fleet] Wright notes this as 'an instance of Shakespeare's habit of forming
verbs from adjectives,' and RoLFE says that it is only here used transitively by Shake-
speare, though as * an intransitive verb it occurs often.* [Way {^Prompt. Parv. s. v.
Fletyn) cites Harrison, who in his Description 0/ England, says * the Lime water ....
which conuneth .... from the hils, fleting upon rockie soil, .... so falleth into the
sea.' — Holinsh. Chron. i, 58. Halliwell says that a vessel is said to fleet when the
tide flows sufficiently to enable her to move. Is it too fanciful to suppose that in
the use of this word in this particular passage, where a gay, careless, happy life flows
on from hour to hour without a ripple of aimoyance, there was in Shakespeare's
mind a dim association between this word to fleets and the meaning to floaty to
yjiw/— Ed.]
122. a matter] For other instances where * a' is used for ' a certain' see Abbott,
§81.
126. shall] Abbott, § 315 : That is, must, will have to. Wright refers to V, i,
14. [See also II, iv, 92.]
20 AS YOU LIKE IT [act i, sc. i.
come in : therefore out of my loue to you, I came hither
to acquaint you withall, that either you might ftay him 130
from his intendment, or brooke fuch difgrace well as he
fhall runne into , in that it is a thing of his owne fearch ,
and altogether againft my will.
OH, CkarleSy I thanke thee for thy loue to me, which
thou fhalt finde I will mod kindly requite : I had my 135
felfe notice of my Brothers purpofe heerein,and haue by
vnder-hand meanes laboured to diflwade him from it ;
but he is refolute. He tell thee CharleSy it is the ftubbor-
neft yong fellow of France, full of ambition, an enuious
emulator of euery mans good parts, a fecret & villanous 140
contriuer againft mee his naturall brother : therefore vfe
thy difcretion, I had as liefe thou didft breake his necke
as his finger. And thou wert beft looke to't ; for if thou
doft him any flight difgrace, or if hee doe not mightilie
grace himfelfe on thee, hee will pra6life againft thee by 145
poyfon, entrap thee by fome treacherous deuife, and ne-
uer leaue thee till he hath tane thy life by fome indirefl
meanes or other : for I aflure thee , ( and almoft with
teares I fpeake it) there is not one fo young, and fo vil-
lanous this day liuing. I fpeake but brotherly of him, 150
137. him\ them F^. 146. entrap] to entrap F^F^, Rowe.
138. ne] /F^F^, Rowe + . 150. liuing.'] livings Var. '21.
130. withall] Abbott, § 196: Sometimes this is understood after 'withal,' so that
it means tuith all this, and is used adverbially : < So glad of this as they, I cannot be,
"^Tio are surprised withal * — Temp. Ill, i, 93, i. e, surprised with, or at, this. Here,
however, perhaps, and elsewhere certainly, with means in addition tOy and ' te^^-all
(this) * means besides ; as in, < I must have liberty withal,' II, vii, 51 [of this present
play, and also in * Marry, do, to make sport withal,* in I, ii, 26.] But [in the present
line] there is no meaning of besides and * withal ' means therewith, with it.
138. He tell thee] The same phrase occurs in IV, i, 206; and Lettsom questions
if it be not here a blunder for / tell thee. Dyce : It is not a blunder.
138. it is] The use of this impersonal phrase may be as various as the mood of
man. Here, as Wright points out, its import is contemptuous. In * It is a pretty
youth,' III, V, 118, there is a touch of coquettish familiarity. — Ed.
141. naturall] Halliwell: This term did not formerly, as now, imply illegiti-
macy. *Filius naturalis, a natural or lawfully-begotten son.' — Nomenclator, 1585.
142. breake his necke] See the Tale of Gamelyn, in Appendix.
143. thou wert best] See Abbott, § 230, for tliis and other * imgrammatical rem-
nants of ancient usage.'
145. practise] Dyce : To use arts or stratagems, to plot.
Acri.sc. L] AS YOU LIKE IT 2X
but fhould I anathomize him to thee, as hee is, I mufl 151
blufh, and weepe, and thou mud looke pale and
wonder.
Cha. I am heartily glad I came hither to you : if hee
come to morrow, He giue him his payment : if euer hee 155
goe alone againe. He neuer wraftle for prize more : and
fo God keepe your worfhip. Exit,
Farewell good Charles. Now will I ftirre this Game-
fter : I hope I fhall fee an end of him ; for my foule (yet
I know not why>^ hates nothing more then he : yet hee's 160
gentle, neuer fchoolM, and yet learned, full of noble
151. anathomize] anatomise F^F^. 158. FareiveW] Oli. Farewell Ff et
157. Exit. Rowe. After Charles, line seq.
158, O^. Dyce, Cam. Wh. ii. 160. he] him Han. Johns.
153. wonder] MacDonald (p. 126) : If any one wishes to see what variety of
the some kind of thoughts Shakespeare could produce, let him examine the treatment
of the same business in different plays ; as, for instance, the way in which the insti-
gation to a crime is managed in Macbeth^ where Macbeth tempts the two murderers
to kill Banquo; in King John, where the King tempts Hubert to kill Arthur; in The
Tempest f where Antonio tempts Sebastian to kill Alonzo ; [the present passage cited]
and in Hamlet, where Claudius urges Laertes to the murder of Hamlet.
158 et seq. Coleridge (p. 107) : This has alwajrs seemed to me one of the most
un-Shakespearian speeches in all the genuine works of our poet ; yet I should be
nothing surprised, and greatly pleased, to find it hereafter a fresh beauty, as has so
often happened to me with other supposed defects of great men. — 1 8 10.
It is too venturous to charge a passage in Shakespeare with want of truth to Nature ;
and yet at first sight this speech of Oliver's expresses truths which it seems almost
impossible that any mind should so distinctly, so livelily, and so voluntarily have pre-
sented to itself, in connection with feelings and intentions so malignant, and so con-
trary to those which the qualities expressed would naturally have called forth. But I
dare not say that this seeming unnaturalness is not in the nature of an abused wilful-
ness, when united with a strong intellect. In such characters there is sometimes a
gloomy self-gratification in making the absoluteness of the will {sit pro ratione volun-
tas f) evident to themselves by setting the reason and the conscience in full array
against it. — 1 81 8.
158. Gamester] Steevens : In the present instance and in some others, this does
not mean a man viciously addicted to games of chance, but a frolicsome person. [The
meaning is probably more specific here, and Caldecott is nearer right in defining it as
* disposed to try his fortune at this game* In the story of Faustina the Empresse in
Painter's Palace of Pleasure, gladiators are said to be * a certaine sort of gamsters in
Rome, which we terme to bee maisters of defence,' ii, p. 104, ed. Haslewood.— Ed.]
160. then he] See Abbott, § 206 et seq. for other instances of * he ' used for
him; 'she' for her; <thee' for thou, &c And also I, ii, 17, 266.
161. gentle] Cf, 'gentle condition of blood,' supra.
x6x, 162. noble deuise] Wright : That is, of noble conceptions and aims. In
22 AS YOU LIKE IT [act i. sc. ii.
deuife, of all forts enchantingly beloued, and indeed 162
fo much in the heart of the world, and efpecially of my
owne people, who beft know him, that I am altogether
mifprifed : but it fhall not be fo long, this wraftler fhall 165
cleare all : nothing remaines, but that I kindle the boy
thither, which now He goe about Exit.
Sccena Secunda.
Enter Rofalindy and Cellia.
CeL I pray thee Rofalindy fweet my Coz, be merry.
Scoena Secunda.] Scene IV. Pope + . before the Dukes Palace. Cap.
The Dukes Palace. Rowe. Open walk I, 3. Cellia] Celia Ff.
before the Dukes Palace. Theob. Lawn 2. my Coz] Coz Pope, Han.
a copy of F^, which formerly belonged to Steevens, he has marked these lines as
descriptive of Shakespeare himself.
162. sorts] RiTSON : In this place it means ranks and degrees of men.
162. enchantingly] Caldecott: That is, to a degree that could only be the
supposed effect of a spell or incantation. Walker {Crit. ii, 88) compares for the
thought : * such a holy witch That he enchants societies unto him ; Half all men's
hearts are his,' Cymb. I, vi, 166.
165. misprised] Wright : Cotgrave gives * Mespriser. To disesteeme, contemne
disdaine, despise, neglect, make light of, set nought by.*
166. kindle] Steevens: Cf. Macb. I, iii, 121, * enkindle you unto the crown.
Nares : To inflame, and thence to incite, to stimulate ; that is, to inflame the mind.
I. Rosalind] Mrs Jameson (ii, 143) : It is easy to seize on the prominent features
in the mind of Beatrice, but extremely difficult to catch and fix the more fanciful
graces of Rosalind. She is like a compound of essences, so volatile in their nature,
and so exquisitely blended, that on any attempt to analyze them, they seem to escape
us. To what else shall we compare her, all-enchanting as she is ? — to the silvery
summer clouds, which, even while we gaze on them, shift their hues and forms, dis-
solving into air, and light, and rainbow showers ? — to the May-morning, flush with
opening blossoms and the roseate dews, and * charm of earliest birds ' ? — to some wild
and beautiful melody, such as some shepherd-boy might pipe to *Amarillis in the
shade ' ? — to a mountain streamlet, now smooth as a mirror, in which the skies may
glass themselves, and anon leaping and sparkling in the sunshine— or rather to the
very sunshine itself? for so her genial spirit touches into life and beauty whatever it
shines on I Blackwood's Magazine (April, 1833, p. 547. Qu, Thomas Camp-
bell ?) : But lo I One more delightful, more alluring, more fascinating, more enchant-
ing, more captivating than Beatrice 1 In pure nature and sweet simplicity, more
delightful is Rosalind ; in courteous coquetry and quaint disguise, more alluring is
Rosalind ; in feeling, playing with fancy, and in fancy by feeling tempered, (ah ! shall
ACT I. sc. ii.] AS you LIKE IT 23
Rof, Deere Cellia ; I fhow more mirth then I am mi- 3
ftrefle of, and would you yet were merrier : vnleffe you
could teach me to forget a banifhed father, you muft not 5
leame mee how to remember any extraordinary plea-
fure.
CeL Heerein I fee thou lou'ft mee not with the full
waight that I loue thee ; if my Vncle thy banifhed father
had banifhed thy Vncle the Duke my Father, fo thou 10
hadfl beene ftill with mee, I could haue taught my loue
to take thy father for mine ; fo wouldfl thou, if the truth 1 j
4. wtre\ I were Rowe ii et seq. 6. any^ my F^F^, Rowe i.
we call her serpent ?) more fascinating is Rosalind ; in sinless spells and gracious
glamoury, (what a witch !) more enchanting is Rosalind ; and when to *• still mnsick '
' enters Hymen, leading her in woman's cloathes ' and singing *■ Then is there mirth
in Heaven, When earthly things made even Atone together,' feelcst thou not that
more captivating is Rosalind — a snow-white lily with a wimple of dew, in bride-like
joyance flowering in the forest ! Lady Martin (p. 409) : What the courtly Le Beau
had so plainly seen to be the state of the Duke's mind was not likely to have escaped
Rosalind's quick, sensitive nature. She feels the cloud of her uncle's displeasure
hanging over her and ready to burst at any moment. She will not pain Celia with
her forebodings, who is so far from surmising the truth that these first lines she speaks
are a gentle reproach to Rosalind for her want of gayety It is obvious that Celia
has no idea that Rosalind has fallen out of favour with the usurping Duke Rosa-
lind will hide from Celia the trouble she sees looming for herself in the not far distance.
4. and would you yet were merrier] Jourdain [PhiloL Soc. Trans. 1 860-1, p.
143) proposes to allot these words to Celia, with an interrogation -mark after them.
Although we can thus retain the text of the Folio and reject Rowe's emendation
of */ were,* yet it is at the cost of an even greater change, without any corresponding
improvement of the sense, as far as I can see. Collier suggests that the original text
might be intelligible if we suppose Rosalind to express a wish that Celia were yet even
merrier than she appeared to be, an explanation which Halliwell says obscures the
chief point of Rosalind's speech. Allen thus paraphrases the text with Rowe'i*
emendation : * " the mirth which I already skew is more than I really feel ; and do
you still (nevertheless) insist I shall be merrier ?" Cf. for the transposition of " yet "
line 165 post: " I come but in" for " I but come in." * Rowe's emendation seems
absolutely necessary. — Ed.
6. leame] This use of * learn ' for teach (see Abbott, § 291) is still common
throughout New England. Wordsworth calls attention to its use in the Prayer-
Book version of PS. xxv, 2 : * Lead me forth in thy truth, and learn me.*
10. so] Abbott, § 133 : .S"^ is used with the future, and the subjunctive to denote
provided that. The full construction is * be it (if it be) so that.' * Be it ' is inserted
in * Be it so (that) she will not,' Mid. N. D. I, i, 39.
12. so wouldst thou] Allen (MS) ; That is, *so wouldst thou [have taught thy
love to take my father for thine].* We should now be obliged to write the vice versd
out in full.
24 AS YOU LIKE IT [act i, sc. li
of thy loue to me were fo righteoufly tempered, as mine 13
is to thee.
Rof, Well, I will forget the condition of my eftate, 15
to reioyce in yours.
CeL You know my Father hath no childe, but I, nor
none is like to haue ; and truely when he dies, thou (halt
be his heire ; for what hee hath taken away from thy fa-
ther perforce , I will render thee againe in affeflion : by 20
mine honor I will, and when I breake that oath, let mee
tume monftentherefore my fweet Rofe^ my deare Rofe^
be merry.
Rof. From henceforth I will Coz, and deuife fports:
let me fee, what thinke you of falling in Loue ? 25
Cel. Marry I prethee doe, to make fport withall : but
loue no man in good earned, nor no further in fport ney-
ther, then with fafety of a pure blufh , thou maid in ho-
nor come off againe.
Rof. What fhall be our fport then ? 30
CeL Let vs fit and mocke the good houfwife For^
17. but I"] ha me Han. 19. ^W;] heire f Ff.
^^— -""^^^-^^"■™ ^^— ^^^— i^^^^— ^— — ^ ^^^.^^— ^.^
13. so . . . as] For other examples of so before at, which are not very common in
Shakespeare, see Abbott, § 275.
17. but I] See I, i, 160; and line 2.(3^ post,
17, 18. nor none] For double negatives, see Abbott, § 406, and Shakespeare /ojjfVv.
25. See Lodge's Rosalynde^ Appendix.
26. withall] See I, i, 130.
28. pure blush] Wright : A blush that has no shame in it Allen paraphrases :
thou may'st come off in (the possession of thy) honor^ having saved (preserved) a
pure blush.
31. mocke . . . whcclc] Johnson: The wheel of Fortune b not the wheel kA a
kousermfe. Shakespeare has confounded Fortune, whose wheel only figures uncer-
tainty and vicissitude, with the Destiny that spins the thread of life, though not indeed
with a wheel. [This is one of Dr Johnson's unhappy notes which must be offset by
a hundred happy ones. There was no confusion in Shakespeare's mind here nor any-
where else ; he knew the symbolism in the wheel of Fortune quite as well as Dr
Johnson. Fluellen in Henry V: III, vi, 35 (as Wright points out) explains to Pistol
that * Fortune is painted with a wheel, to signify to you, which is the moral of it, that
she is turning, and inconstant, and mutability, and variation.' Harness, whose orig-
inal notes though few are good, well says : * Good housewife seems applied to For-
tune merely as a jesting appellation, without any reference to the wheel on which she
stood. The wheel of Fortune was an emblem of her mutability, from which Celia
and Rosalind proposed to drive her by their wit, that she might ever after cease to be
inconstant.' — ^£d.]
ACT I, sc. ii.] AS VOLT LIKE IT 25
tune from her wheele, that her gifts may henceforth bee 32
bellowed equally.
Rof. I would wee could doe fo : for her benefits are
mightily mifplaced, and the bountifuU blinde woman 35
doth mod miftake in her gifts to women.
Cel. 'Tis true, for thofe that fhe makes faire,fhe fcarce
makes honeft, & thofe that (he makes honed, fhe makes
very illfauou redly.
Rof. Nay now thou goeft from Fortunes office to Na- 40
tures : Fortune reignes in gifts of the world, not in the
lineaments of Nature.
Enter Clowne,
CeL No ; when Nature hath made a faire creature, 44
37. 38. tho/e.,.6y'\ Om. Rowe i. 43. Enter.,.'] After line 47, Dyce,
39. illfaiMurediy\ ill favouredly F^ Sta.
illfavouredly F^F^. ill favoured Rowe 43. Clowne.] Touchstone Theob. ii.
ii + , CoU. (MS), Dyce iii, Huds. 44. No /] No / Theob, No f Han.
31. houswife] White (ed. ii; note on 0th. II, i, 132): In Shakespeare's day,
and in some parts of England still, this word is pronounced husif which has passed
into hussy. [The pronunciation husif is still quite general, I think, in Uiis country ;
and is always given to certain little pocket-books containing needles, thread, thimble,
&c. To call Fortune a husif is jocular, but to call her a hussy is a little too jocular ;
nor do I imagine that White would have counselled that pronunciation here, though
it is appropriate enough in the passage in Othello. — Ed.] «J
35. blinde woman] From many instances where rhythm obliges us to pronounce
as one word with the accent on the first syllable, such words as wise man, true man,
long man, &c.. Walker {CrU. ii, 139) suggests that these words be printed and pro-
nounced bllndwoman.
38. honest] Staunton: That is, chaste. [See III, iii, 15, and V, iii, 5.]
39. iUfauouredly] Capell (i, 55) : Altered by the four latter modems [1. e. Pope,
Theobald, Hanmer, Warburton] into ill-favoured ; in order, as may be suppos'd, to
make the antithesis the rounder. But how if that roundness was dislik'd by the Poet,
as thinking it destructive of the ease of his dialogue ? yet this he might think, and
with great reason. Collier (ed. ii) : Strictly speaking, Fortune does not make the
honest ' ill-favouredly,' but '"C^ favoured ; and the adverbial termination is erased in
the (MS).
40-^. MoBERLY : Shakespeare constantly harps on the motive powers of human
action ; nature, destiny, chance, art, custom. In this place he playfully distinguishes
nature from chance ; in Wint. Tale, IV, iii, he argues that the resources of art are
themselves gifts of nature : * Nature is made better by no mean. But nature makes
that mean.' In Macb. I, iii, he shows that destiny can work itself without our help
(* if chance will have me king, why chance may crown me *), and in Ham. Ill, iv,
161, he splendidly exhibits the force of custom in 'almost changing the stamp of
nature.'
26 AS VOW LIKE IT [act i, sc. iL
may fhe not by Fortune fall into the fire ? though nature 45
hath giuen vs wit to flout at Fortune, hath not Fortune
fent in this foole to cut off the argument ?
Rof, Indeed there is fortune too hard for nature, when
fortune makes natures naturall, the cutter off of natures
witte. 50
CeL Peraduenture this is not Fortunes work neither,
but Natures, who perceiueth our naturall wits too dull
to reafon of fuch goddeffes, hath fent this Naturall for 53
47. the\ this FjF^, Rowe + . Cap. Steev. Knt, Coll. Sing. Wh. i, Sta.
48. there is fortune'] Fortune is there Klly, Rife, Dyce iii.
FjF^, Rowe i, Sing, then is Fortune 53. hath] and hath Mai. Dyce i, Cam.
Dyce iii, Huds. Wh. ii.
52. perceiueth] perceiving Ff, Rowe + ,
43. Clowne] Douce (i, 309) : Touchstone is the domestic fool of Frederick, the
Duke's brother, and belongs to the class of witty or allowed fools. He is threatened
with the whip, a mode of chastisement which was often inflicted on this motley per-
sonage. His dress should be a party-coloured garment. He should occasionally
carry a bauble in his hand, and wear asses' ears to his hood, which is probably the
head-dress intended by Shakespeare, there being no allusion whatever to a cock's
head or comb. The three-cornered hat which Touchstone is made to wear on the
modem stage is an innovation, and totally unconnected with the genuine costume of
the domestic fool. [See Appendix, p. 309, * Source of the Plot.']
44. No ;] It is not easy to reject Hanmcr's interrogation -point, which, indeed, has
been generally adopted. Moberly gives this good paraphrase of the whole speech :
* True that Fortune does not make fair features ; but she can mar them by some acci-
dent. So Nature makes us able to philosophize, chance spoils our grave philosophy
by sending us a fool.*
52, 53. perceiueth . . . hath sent] Malone suggested, and reads, ^ and hath
sent.' Caldecott, who never deserts his Folio, says that * perceiveth ' is ec^uivalent
to * who, inasmuch as she perceiveth.* Dyce in his first edition adopted Malone's
emendation, because, as he said, * it is more probable that arui was omitted by the
original compositor than that "perceiveth" should be a misprint for perceiving ;'' and
of Caldecott's defence he remarks that * the general style of the dialogue is opposed
to the idea of Shakespeare's having intended such an ellipsis here.' But in his last
edition he adopts perceiving with the quiet remark that it is a correction of the Second
Folio. Dyce's vacillation, a quality in which he excels, is a proof not of thoughtless-
ness, but of extreme thoughtful ness ; it is to be regretted that with it was not joined a
little more openness in confessing it, and a good deal less acrimony in criticising
others. The choice here is so evenly balanced between perceiving of F^ and the and
of Malone tliat we can debate a long while over a very trifling matter. In the end, I
think, however, that the gray authority of the Second Folio should prevail. — Ed.
53. reason of] That is, talk, discuss concerning. For the use of * of,' as equiv-
alent to about^ concemingf see also V, iv, 59; or Mer. of Ven, I, iii, 54: *I am
debating of my present store,' or Abbott, § 174. See also Mer. of Ven. II, viii, 30:
* I reason'd with a Frenchman yesterday/ that is, talked.
ACT I, sc. ii.] AS YOU LIKE IT 27
our whetftone . for alwaies the dulnefle of the foole , is
the whetftone of the wits. How now Witte, whether 55
wander you.^
Clow, Miftreffe, you muft come away to your farher.
CeL Were you made the meffenger f
C/o.iio by mine honor, but I was bid to come for you
Ro/. Where learned you that oath foole ? 60
C/o. Of a certaine Knight, that fwore by his Honour
they were good Pan-cakes, and fwore by his Honor the
Muftard was naught : Now He ftand to it, the Pancakes
were naught, and the Muftard was good, and yet was
not the Knight forfworne. 65
55. />4^zwVj]^i>zwVjVar. '03, Var. '13, 55. whether] whither Y ^.
Var. '21. 62. Fan-cakes] Pancakes Ff.
Wifte] Om. Rowe, Pope, Han.
53. NaturaU] Douce (i, 293) : Touchstone is here called a * natural * [/. e. an
idiot] merely for the sake of alliteration and a punning jingle of words ; for he is
undoubtedly an artificial fool. [Cf. Touchstone's own use of the word in his conver-
sation with Corin, III, ii, 31, whom he calls * a «fl/«rdf/ philosopher.' — Ed.]
55. whetstone] Whalley (p. 36) : This is a proverbial term, denoting an excite-
ment to lying, or a subject that gave a man the opportunity of breaking a jest upon
another. And Jonson, alluding to the same when he draws the character of Amor-
phus, says : ' He will lie cheaper than any Beggar, and louder than most clocks ; for
which he is right properly accommodated to the Whetstone ^ his page* [Cynthia's
RevelSy II, i, p. 265, ed. Gifford. I think Whalley is far afield when he traces any
connection between the present passage and the whetstone which was given at Fairs
as a prize to that clown who told the most impossible and enormous lies. Why a
whetstone should have been selected as this prize has never yet been discovered. It
is clear that Celia refers to the ordinary uses of the ordinary stone. Wright appo-
sitely cites the title of Robert Recorde's Arithmetic, 1557 : * The Whetstone of Witte.'
—Ed.].
55. the wits] In the Variorum of 1803 this was changed to * his wits.* As no
reason was given for the change, nor even a reference to it, I am inclined to think
that it is a mere typographical oversight, precisely such a substitution of words as
Walker ( Crit. i, 309) conceived to have taken place in the second word * wits/
which he suggested should be wise^ an emendation also proposed by Spedding;
Dyce (ed. iii), however, thinks the emendation doubtful, * because it seems to be at
variance with what Celia says just before, " who, perceiving our natural wits too dull^*
&c.' ; wherein, I think, all will agree. — Ed.
55, 56. How . , . you ?] Staunton : The beginning, probably, of some ancient
ballad. Wright : * Wit, whither wilt,' was a proverbial expression. See IV, i, 160.
65. forsworn] Boswell: The same joke [* such as it is * — Wright] is found in the
old play of Damon and Pithias : * I have taken a wise oath on him, have I not, trow
ye ? To trust such a false knave upon his honesty ? As he is an honest man (quoth
you ?) he may bewray all to the king. And break his oath for this never a whit.* [ed.
28 AS VOLT LIKE IT [act I, sa ii.
Cel. How proue you that in the great heape of your 66
knowledge ?
Rof. I marry, now vnmuzzle your wifedome.
Clo. Stand you both forth now : ftroke your chinnes,
and fweare by your beards that I am a knaue. 70
Cel. By our beards(if we had them)thou art.
Clo. By my knauerie (if I had it) then I were : but if
you fweare by that that is not, you are not forfworn : no
more was this knight fwearing by his Honor, for he ne-
uer had anie ; or if he had, he had fworne it away, before 75
euer he faw thofe Pancakes, or that Muftard.
Cel. Prethee, who is't that thou means^t ?
Clo. One that old Fredericke your Father loues. 78
68. your^ you F^. 78. Fredericke] Ferdinand Cap. conj,
77. wV] is F^, Rowe + . Coll. ii.
Dodsley, vol. iv, p. 60]. Caldecott : Richard, swearing by his * George, his garter,
and his crown/ is answered in much the same way by Queen Elizabeth, who says he
swears * By nothing ; for this is no oath,* Rick, III : IV, iv, 374.
70. sweare by your beards] Grey (i, 163) refers to the oath of the porter 'by
goddes berde ' in the Tale of Gatnelyn^ 295.
78. old Fredericke] In the last Scene of the last Act we are told that the name
of Celia's father is Frederick, and there would be no diflficulty here in Touchstone's
reply were it not that Rosalind speaks as though the name of her father also were
Frederick. As it is impossible that the two brothers should both have the same name,
Ane of two changes must be made. Either the name Frederick must be changed,
or the answer given to Rosalind in line 79, must be given to Celia. This latter
emendation Theobald was the first to propose and to adopt, and it is the simpler
solution of the two. The instances are numerous, filling more than ten pages in
Walker (Crit, ii, 177-189), wherein speeches in the Folio are assigned to the wrong
characters ; the present is in Walker's list. It is to be noted that it is Celia's question
that Touchstone is answering, and when he says * your father,' must he not mean
Celia's father? Capell did not approve of Theobald's emendation, and preferred to
change the name, but Capell should be always allowed to speak for himself— -he stands
solitary in style : * Two of the Poet's editors [Theob. and Han.] have given this speech
[1. 79] to Celia; assigning for reasons, first — that she is the questionist; that the
answer therefore ought naturally to be address'd to her and reply'd to by her ; and
in the next place — that " Frederick " is the name of her father. To the first of these
reasons, it may be reply'd, that Celia is effectually answer'd ; but the matter of his
answer concerning Rosalind most, the Qown turns himself in speaking to her; to the
second, that *' Frederick " is a mistake, either of the Poet's through haste, or of his
compositor's, as we shall endeavour to shew by and by ; first observing that the speech
cannot be Celia's, for two very good reasons : we have no cause to think that she
would have been so alert in taking up the Qown for reflecting upon her father; who
(besides) is not the person reflected upon, that person being call'd " old Frederick."
Throughout all this play Shakespeare calls his two dukes "Duke senufr" and "DuJU
ACT I. sc. ii.] AS YOU LIKE IT 29
[old Fredericke your Father]
junior''^ [see II, i, i], giving no proper name to either of them, except in this place,
and in [line 228 of this scene, and in V, iv, 158] : his original makes them both kings,
and kings of France ; calling the elder, Gerismond ; the younger, and the usurping
king, Torismond : these names the Poet chose to discard (perhaps, for that he thought
them too antiquated), putting "Frederick" instead of the latter; but not instantly
hitting upon another that pleas'd him, when he had occasion to mention the former,
he put down " Frederick " there too, with intention to alter it afterwards. There is a
name in the Novel, which might (possibly) be that intended for Gerismond ; and this
the reason why it was taken away from it's owner, Orlando's second brother; and
" Jaques " bestow'd upon him for " Femandine," his name in the novelist ; however
that may be, it can be no very great licence to put " Femandine " [into the present
line] or Ferdinand rather ; and get rid of a name by that means, which will be for ever
a stumbling-block to all those who read with attention.' Malone was evidently
impressed with Capell's emendation, but he did not venture to adopt it (Collier was
the only editor temerarious enough to do that). ' I suppose,* says Malone, < some
abbreviation was used in the MS for the name of the rightful, or old duke, as he is
called (perhaps Fer. for Ferdinand) ^ which the transcriber or printer converted into
Frederick.' He disapproves of giving the next speech to Celia instead of Rosalind,
because ' there is too much filial warmth in it for Celia : besides, why should her
father be called old Frederick ? It appears from the last scene of the play that this
was the name of the younger brother.* Whereunto Steevens replies : * Mr Malone's
remark may be just ; and yet I think the speech which I have still left in the mouth
of Celia exhibits as much tenderness for the fool as respect for her own father. She
stops Touchstone, who might otherwise have proceeded to say what she could not hear
without inflicting punishment on the speaker. <<01d" is an unmeaning term of
familiarity. It is still in use, and has no reference to age.' This last observation in
regard to *old ' Dyce {Remarks^ p. 61) pronounced * just.* Caldecott will neither
renege Frederick, nor affirm Celia, nor turn his halcyon beak for one instant away
from the First Folio. * The Qown,* he urges, * might turn towards Rosalind, though
addressed by Celia ; or might speak inaccurately ; neither would it be out of character
to make him do so. The answer of Rosalind, at the same time, seems to shew that it
was her truly respectable father that was meant.* Collier (ed. i) made a bold sug-
gestion that *• perhaps the name of the knight was Frederick, and the clown's answer
ought to run " One old Frederick, that your father loves," which only changes the
place of " that." * This suggestion was not repeated in his next edition, where he
upholds and adopts Capell's Ferdinand on the score that it * makes the whole dia-
logue natural and consistent, and it does no violence to the poet's language merely to
introduce a change of name ' — a reason which applies with equal force to the change
of ^Ros,^ to *C//.' In Collier's third and last edition Theobald's change is adopted
in the text with the following note : * In the old copies this speech is by mistake given
to Rosalind. Theol>ald was the first to detect the error, which has not been repeated '
—an oversight for which Collier's venerable age is an ample excuse. Dyce quotes
Caldecott's remark that the clown * might speak inaccurately,' and affixes two exclama-
tion-marks. Neil follows the Folio, and, supposing that Touchstone gives ' a jocular
answer addressed first to Celia and then explanatorily to Rosalind,* thus prints line
78: *{To Celia] One that old Frederick [fo Rosalind], your father, loves.' [The
many examples collected by Walker of speeches wrongly assigned in the Folio seem
to me amply sufficient to justify Theobald's change here. The error may be due, how-
30 AS YOU LIKE IT [act i. sc. iL
Ro/.My Fathers loue is enough to honor him enough;
fpeake no more of him, you'l be whipt for taxation one 80
of thefe daies.
C/o. The more pittie that fooles may not fpeak wife-
ly, what Wifemen do foolifhly.
Cel. By my troth thou faieft true : For, fince the little
wit that fooles haue was filenced, the little foolerie that 85
wife men haue makes a great (hew ; Heere comes Mon-
fieur the Beu.
Enter le Beau,
Rof. With his mouth full of newes.
CeL Which he will put on vs, as Pigeons feed their 90
young.
79. Rof.] Celia. Theob. Han. Johns. 83. Wifemetil Wife mm FjF^, Rowe.
Steev. Knt, Sing. Hal. Wh. Dyce, Sta. 86, 87. Monfteur\ Mounfuur Ff.
KUy, Cam. Rife, Coll. iii. 87. the Beu.] Le Beu. Ff.
him enough /] him : — enough ! 88. Scene V. Pope + .
Han. Johns. Steev. Sta. Cam. Wr. Wh. le Beau.] Le Beu. Ff. After line
ii. him. Enough : Mai. 93, Dyce, Sta. Cam. Wh. ii.
him enough"] him Gould.
ever, to Shakespeare himself, and be but another proof of that haste in composition
which Wright finds in the play. — Ed.]
79. honor him enough ;] This punctuation, which has been followed by a major-
ity of the Editors, Collier asserts to be * in Shakespeare's characteristic manner/
and adds, I think with truth, that Hanmer's punctuation, as well as Malone's, * sacri-
fices the point of the reply.'
80. whipt] Douce : This was the discipline usually inflicted on Fools. [See Lear,
I, iv, 105, where Lear says to the Fool : * Take heed, sirrah ; the whip.']
80. taxation] Malone: That is, censure or satire. See H, vii, 74 and 89.
83. 86. Wisemen . . . wise men] These two forms should be, I think, retained
in a modem text. See V, i, 34. — Ed.
84. since . . . was silenced] For other instances of the simple past for the com-
plete present with * since,' see Abbott, § 347.
85. silenced] Johnson: Shakespeare probably alludes to the use of Fools or
Jesters, who for some ages had been allowed in all courts an unbridled liberty of cen-
sure and mockery, and about this time began to be less tolerated. Wright : Per-
haps referring to some recent inhibition of the players. See Ham. II, ii, 346. Fleay
(Life and Work of Sh.y p. 208) thinks that this * alludes probably to the burning of
satirical books by public authority 1st June, 1599/ and holds this allusion to be an
important indication of the date of the play.
90. put on vs] I doubt the need of analysing here the exact meaning of * put,' or
of citing other passages where it is to be found. Its special meaning is plainly, almost
too plainly, conveyed by Celia's simile, which is distended to its fullest extent by the
\
ACT I. sc. ii.] j4S you like IT 31
Rof. Then (hal we be newes-cram'd. 92
CeL All the better : we fhalbe the more Marketable.
Boon-iour^ Monjieur le BeUy what's the newes ?
Le Beu. Faire Princeffe, 95
you haue loft much good fport.
CeL Sport : of what colour ?
Le Beu. What colour Madame ? How fhall I aun-
fwer you ?
Rof. As wit and fortune will. 100
do. Or as the deftinies decrees.
Cel, Well faid, that was laid on with a trowell. 102
94. Boon-ipur, Monfieur] Boon-jour 96. much good"] much F,F^, Rowe,
Mounfieur Ff. Pope, Han.
whaVs the'\ what the F,. whcU 98. Madame\ Madam Ff.
F F^, Rowe+. loi. decree5\ Ff, Rowe, Cam. decree
Pope et cet.
suggestion that they ' shall be more marketable,' because the heavier by the operation.
—Ed.
96. good sport] Collier (ed. ii) : From what follows this observation we learn
that Le Beau pronounced ' sport ' affectedly spot, and Celia retorts it upon him in his
own way, ''Spot f of what colour ?' The old corrector of F, made this change in
order to render a point clear which has hitherto been missed by all Editors. [This
emendation is so specious that apparently it staggered Collier's opponents. Of course
they do not adopt it, but they do not exclaim against it. Moberly and Neil are, I
think, the only avowed converts ; nay, Moberly amplifies it, and suggests that * with
a finicking pronunciation, the next line would end with " answer ye," rhyming to
" decree." * The best answer to Collier is given indirectly by Wright, who shows
that * colour* is * used for kind^ nature, in Lear, II, ii, 145 : " This is a fellow of the
self-same colour Our sister speaks of:" where the Quartos actually read "nature."*
Apposite as this citation seems and satisfactory as it may appear to us, I am afraid
that Celia's use of the word was neither so satisfactory nor so clear to Le Beau. He
is evidently gravelled by it, and at a loss for a reply. His answer would have been
prompt enough had he at once thus understood the word * colour.' — ^Ed.]
loi. destinies decrees] Another of the many instances where a final 5 is inter-
polated ; see I, iii, 60. Wright : It is 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 the granunarians.
102. trowell] Grey (i, 163) : A proverbial expression for a great lie. See Ray's
Prtrjerbs [p. 49, ed. 1817. The first ed. of Ray is dated 1670; it is useless therefore
as an unsupported authority for any phrase of Shakespeare's like this.— Ed.]. John-
son : I suppose the meaning is, that there is too heavy a mass of big words laid upon
a light subject. RiTSON : It means a good round hit, thrown in without judgment or
design. M. Mason : To do anything strongly and without delicacy. Moberly : Well
rounded off into a jingle ; the lines being pronoimced 'As wit and fortune will. Or as |
The destinies decree.' [I doubt if this last interpretation will gain many converts
33 AS yO[/ LIKE IT [act i, sc u.
Clo. Nay, if I keepe not my ranke. 103
Rof. Thou loofeft thy old fmell.
Le Beu. You amaze me Ladies : I would haue told 105
you of good wraftling, which you haue loft the fight of.
Rof. Yet tell vs the manner of the Wraftling.
Le Beu. I wil tell you the beginning : and if it pleafe
your Ladifliips, you may fee the end, for the beft is yet
to doe, and heere where you are, they are comming to no
performe it.
Cel. Well, the beginning that is dead and buried.
Le Beu. There comes an old man, and his three fons. 113
103. ranke."] rank — Rowe et seq. 113. fons.'] sons, — Theob. et seq.
104. loo/e^] lofeft F^.
The phrase carries its own explanation to every man, woman, or child who has ever
watched a mason at work. TiECK (p. 309), premising that the phrase, * be it proverb-
ial or not, is incomprehensible,' wonders if there be* not herein < a malicious allusion
to Ben Jonson, who, as all the world knew, had been, in his youth, a mason.' It is
to be feared that Gififord would have emptied the printer's case of exclamation-marks
after this suggestion of Tieck's, had he ever seen it. — Ed.]
103. ranke] Caldecott : * Rank ' is quality or place. The unsavory perversion
of Rosalind's is obvious. So also in Cym, II, i, 17. Cowden-Clarke : Touchstone
as the professional jester, uses this word * rank ' to express * rate of talking,' * way of
following up one joke with another ;' while Rosalind puns upon it in the sense of
* rancid,' * offensively scented.'
104. old smell] Neil : Holinshed says : < The making of new gentlemen bred
great strife sometimes among the Romans, I meane when those which were Novi
homines were more allowed of for their virtues newlie scene and shewed, than the
old smell of ancient race latelie defaced,' &c. — Description of England^ chap v,
[p. 162, ed. 1574]. Rosalind banters Touchstone by taking * rank,' meaning own place,
to signify true station in one sense, and strong-scented in another, and so employs this
equivoque.
105. amaze] Johnson : This is not to astonish or strike with wonder, but to per-
plex, to confuse, so as to put out of the intended narrative. Wright : The word
* amazement ' was originally applied to denote the confusion of mind produced by
any strong emotion, as in Mark xiv, 33 : 'And they began to be sore amazed, and to
be very heavy.'
1 10. to doe] Abbott, § 359 : The infinitive active is often found where we use
the passive, as in * such a storm As oft 'twixt May and April is to see,' Lov. Com. 102.
This is especially common in * what's to do * ( Tkvel, N, III, iii, 18) for * what's to be
done.' So in * Savage, extreme, rude, cruel, not to trust.' — Sonn. 129, that is, not to
be trusted.
113. There comes] Abbott, § 335 : When the subject is as yet future, and, as it
were, unsettled, the third person singular might be regarded as the normal inflection.
Such passages are very common, particularly in the case of * There is.' See 0th. I,
i, 188 : * Is there not charms.' See also V, li, 76 of the present play.
ACT I. sc. ii.] AS YOU LIKE IT 33
Cel. I could match this beginning with an old tale.
Le Beu. Three proper yong men, of excellent growth 115
and prefence.
Rof. With bils on their neckes : Be it knowne vnto
all men by these prefents. 118
116. prefence,'\ presence^^ Theob. et 117, 1 18. Be,„prefents\ Given to
scq. Qown, Warb.
117. With,„necke5\ Given to Le Ben, 118. pre/etUs.'] prefenU^ — Theob. et
Farmer, Dyce, Huds. seq.
115. proper] Caldecott: That is, of good figure and proportion.
117, 118. Warburton supposes that Rosalind and Touchstone are playing < at a
kind of cross purposes/ and to serve out Rosalind for catching him up in line 104,
Touchstone now, < to be quits with her, puts in — ^' Know all men by these presents."
She spoke of an instrument of war, and he turns it to an instrument of law of the
same name, beginning with these words: So that they must be given to him.'
Farmer says, < <' With bills on their necks '' should be the conclusion of Le Beau's
speech.' [Thus between Warburton and Farmer no word of the speech is left to
Rosalind at all.] Farmer continues : < Mr Edwards ridicules Dr Warburton, << As if
people carried such instruments of war as bUU and guns on their necksy not on theif
shoulden P* But unluckily the ridicule falls upon himself. Lassels, in his Voyagi
of Italy y says of tutors, " Some persuade their pupils that it is fine carrying a gun
upon their necksP But what is still more, the expression is taken immediately [from
Lodge's novel.* See Appendix, p. 362]. Johnson : Where meaning is so very thin
as in this vein of jocularity it is hard to catch, and therefore I know not well what to
determine; but I cannot see why Rosalind should suppose that competitors in a
wrestling match carried bills on their shoulders, and I believe the whole conceit is in
the poor resemblance of presence and presents, Capell : The humour of Rosalind's
speech, such as it is, took it's rise from Le Beu's word ' presence.' < Bills ' are — ^labels.
Steevens added others to Farmer's proof from Lodge's novel, of the practice of
wearing bills on the neck; in Sidney's Arcadia [book i, p. 68, ed. 1598] <Dame-
tus . . . . with a sword by his side, a Forrest bill on his necke.' Again in Rowley's
When You See Me You Know Me^ a stage direction conveys almost the same idea t
' Enter King and Compton with bills on their backs' [p. 28, ed. Elze]. M. Mason
(p. 81) believed that neither an instrument of war, nor one of law, was meant by
< bill,' but merely a label or advertisement, as we say 2k play-hilly a hand-bill. Calde-
cott: From the [foregoing] instances it is highly probable that an allusion is here
made to the undoubted usage of < bills, forest-bills, and bats ' being carried on the neck ;
although the leading idea holden out is manifestly that of * scrolls or labels,' with an
inscription running in a legal form, and for the purpose of a conceit between < pres-
ence ' and < presents.' < The watchman's weapon,' says Douce (ii, 51), was the bill;
but Stowe [Annal. p. X040, ed. 1631) infonns us 'that when prentizes and journey-
men attended upon their masters and mistresses in the night, they went before them
carrying a lanthome and candle in their hands and a great long club on their necks.'
CoLUER (ed. i) is inclined to accept Farmer's distribution of the speeches. * Lodge
calls the father " a lustie Frankhn of the country " with <' two tall men that were his
Bonnes/' and they would properly be furnished ** with bills on their necks." ' Dycs
adopted Farmer's emendation in his first edition, and remained constant to it in hit
3
34
AS YOU LIKE IT
[act I, sc ii
Le Beu. The eldeft of the three, wraftled with Charles
the Dukes Wraftler, which Charles in a moment threw I20
him, and broke three of his ribbes, that there is little
hope of life in him : So he feru'd the fecond, and fo the
third : yonder they lie, the poore old man their Father,
making fuch pitdful dole ouer them, that all the behol-
ders take his part with weeping. 125
Rof. Alas.
Clo. But what is the fport Monfieur, that the Ladies
haue loft ?
Le Beu. Why this that I fpeake of,
Clo. Thus men may grow wifer euery day. It is the 130
firft time that euer I heard breaking of ribbes was fport
for Ladies.
Cel. Or I, I promife thee.
Rof, But is there any elfe longs to fee this broken 134
127. Monjieur] Mounfieur Yt
129. Mw] Mif is F^, Rowe i.
130. may"] Om. Rowe, Pope, Han,
131. Aeardl heard of Y^^y Rowe i.
134. fei^ set Theob. Han. Warb. Cap.
feel Johns, conj. Walker, Dyce iii, Huds.
Coll. iii.
lubeequent editions, pronouncing it undoubtedly right ; ' for if they [t. e, the words
<* with bills on their necks "] are spoken by Rosalind, the whole humour of the pas-
sage evaporates.' [This, I think, is somewhat too strongly expressed. And yet
Farmer's suggestion is so ingenious that I am inclined to say < Ditto to Dr Johnson,'
and confess that * I know not well what to determine.' — Ed.]
120. which Charles] Abbott, §269: Which being an adjective frequently
accompanies the repeated antecedent, where definiteness is desired or where care
must be taken to select the right antecedent. This repetition is, perhaps, more com-
mon with the definite *the which.' See post II, i, 36; II, vii, 125.
121. that] For the frequent omission of so before that^ see Abbott, § 283.
126. Alas] Cowden-Clarke : It is often by such apparently slight touches as
these that Shakespeare depicts the moral perfection of his characters and gives them
their crowning charm. By this single word he shows us Rosalind pausing in the full
career of her sportive word-bandying, struck with pity for the poor old father's grief.
His women are always true women ; not mere heedless, heartless wits, but witty from
the very depths of their sweet and sensitive natures.
134-136. But . . . Cosin] In the Cambridge Edition there is recorded an Anony-
mous conjecture whereby this speech is given to Touchstone as far as < rib-breaking.'
To Rosalind is given the rest : < Shall we see this wrastling, Cosin ?'
134. any else longs] For the omission of the relative in this very elliptical phrase
(< any one else who longs '), see Abbott, § 244, where many parallel instances are
given.
X34. see this broken Musicke] Warburton asserts that the pleasantry of Rosa-
lind's repartee must consist in the allusion she makes to composing in music, * It
ACT I. sc. iL] AS YOU LIKE IT 3S
Muficke in his fides? Is there yet another doates vpon 135
rib-breaking ? Shall we fee this wraftling Cofin?
Le Beu. You muft if you ftay heere, for heere is the
place appointed for the wraftling, and they are ready to
performe it 139
138. for the] for Ff, Rowe.
necessarily follows, therefore/ so he says, * that die poet wrote — set this broken music'
This emendation received Capell's approval. Heath (p. 145) : Possibly it might
be *get this broken music/ Johnson : If any change were necessary, I should write
*feel this broken music' But * see ' is the colloquial term for perception or experi-
ment. So we say every day : see if the water be hot ; I will see which is the best time ;
she has tried, and sees that she cannot lift it. In this sense ' see ' may be here used.
Caldecott paraphrases : witness the crash made by his broken bones ; get so rough
a handling. Walker ( Crit, ii, 299) : Feele^ surely ; and so Johnson conjectures,
although he doubts whether any change is required. Dyce (ed. iii) adopted this
emendation, remarking that the error < see ' was evidently derived from the close of
the speech, * Shall we see this wrestling, cousin ?* It may be as Dyce says, but I
always mistrust these < errors of anticipation.' What has once passed through a com-
positor's mind, and imder his fingers, may, it is conceivable, readily recur. But the
case is altered when the error is in the future. Why is it not simpler to take Walker's
explanation that the error arose from the confusion, a confusion very, very common, of
the long s ondfF Rosalind repeats her question with a variation; since the second
time she refers to the wrestler, and not to a spectator, it seems but natural that she
should have referred in the first question also to the wrestler— an additional reason
for adopting Dr Johnson's emendation.^ED.]
134, 135. broken Musicke] Wright: This was first explained by Mr Chappell
{Popular Music f &c, p. 246) as the music of a string band. But he has since altered
his opinion, and has kindly favoured me with the following explanation : Some
instruments, such as viols, violins, flutes, &c., were formerly made in sets of four,
which when played together formed a * consort' If one or more of the instruments
of one set were substituted for the corresponding ones of another set, the result is no
longer a * consort,' but * broken music' The expression occurs in Hen, V: V, ii, 263,
< Come, your answer in broken music ; for thy voice is music and thy English broken.'
And Bacon, Essay xxxvii, p. 156 : < I understand it, that the Song be in Quire, placed
aloft, and accompanied with some broken musicke.'
136. Shall . . . Cosin] Cowden-Clarke suggests that this should be uttered in
a tone to indicate the purpose not to see it Blackwood's Magazine (April, 1833,
p. 549, ^. Campbell ?) : Ought Rosalind to have remained to see the wrestling after
having been told by Le Beau that Charles had thrown the three sons of the old man,
and left them lying on the ground with broken ribs and little hope of life ? On hear-
ing of the rib-breaking Rosalind only said, <Alas 1' Probably she would no^have
gone to see the wrestling, for she asks Celia's advice ; but Celia replies, < Yonder, stu^
they are coming; let us now stay and see it' And there is Orlando. ' Is yonder the
man ?' asks Rosalind ; and would you have had her to leave him, who, * alas ! is too
young, but looks successfully,' in the hold of the Duke's wrestler, without sending
strength to all his sinews ixom the sympathy shining in her troubled eyes ? As for
36 AS YOU LIKE IT [act i, sc. ii.
CeL Yonder fure they are comming. Let vs now (lay 140
and fee it. /
Flourijh. Enter Duke^ Lords ^ Orlando^ Charles ^
and Attendants .
Duke. Come on, fince the youth will not be intreated
His owne perill on his forwardneffe. 145
Rof. Is yonder the man f
Le Beu. Euen he, Madam.
CeL Alas, he is too yong : yet he looks fucceffefully
Du. How now daughter, and Coufin:
Are you crept hither to fee the wraftling? 1 50
Rof. I my Liege, fo pleafe you giue vs leaue.
Du. You wil take little delight in it, I can tell you
there is fuch oddes in the man : In pitie of the challen- 153
142. Duke] Duke Frederick. Rowe. 152. you] you^ Ff.
Duke junior. Cap. 153. in the] on the Anon. (ap. Cam,
Scene VI. Pope + . Ed.)
144, intreated] entreated ¥^^. man] men Han. Warb. Johna^
149. Cou/in] Co/in Ff. Cap. Steev. Mai. Sing. Wh. i, Dyce, Sta,
151. /] Ay, Rowe. Coll. (MS) ii, in, Ktly, Rife, Huds.
the vulgarity of wrestling, 'tis a pretty pastime ; and then Orlando could do nothing
vulgar.
145. Allen (MS) : Instead of < his forwardness is at his own peril,* it is to bo
understood as 'his danger is based upon his own forwardness.'
150. Are you crept] For instances of some few intransitive verbs, mostly of motion,
with which be and have are used, see Abbott, § 295.
153. oddes in the man] Capell pronounced Hanmer's change 'palpably neces*
sary.* Caldecott evidently refers * man * to Orlando ; and paraphrases : * the chal-.
lenger is so little of a match.' Collier, in his first edition, agrees with Caldecott,
in his second and third he was overborne by his *old Corrector.' Blackwood's
Magazine (Aug. 1853, p. 197) : We take leave to say that Hanmer was not right in
altering < man ' to men. What b meant to be said is, *• there is such superiority (of
strength) in the man /' and < odds ' formerly signified superiority , as may be learnt
from the following sentence of Hobbes: 'The passion of laughter,' says Hobbes,
< proceedeth from the sudden imagination of our own odds and eminency.' Dyce
defends Hanmer's change: <If Shakespeare had here written *<man" (meaning
Orlando), he surely would not immediately after have written "/» pity of the chal'
leng^s youth,** &c., but "/» pity of his youth,* &c. Nor, on carefully considering
the passage, can I think more favotu^bly of the old reading, because a critic in Black-
wood*s Magazine confidently maintains [as above]. A little above [line 146] " man "
is Implied to Orlando, and a little below [line 168] to Charles : here the two men,
Charles and Orlando, are spoken of.' [Caldecott is the only editor, I think, who
refers < man ' to Orlando. Qearly it refers to Charles. Wright agrees substantially
ACT I. sc. ii.] AS YOU LIKE IT 37
gers youth, I would faine diffwade him, but he will not
bee entreated. Speake to him Ladies, fee if you can 155
mooue him.
Cel. Call him hether good Monfieuer Le Beu.
Duke. Do fo : He not be by.
Le Beu. Monfieur the Challenger, the Princeffe cals
for you. 160
OrL I attend them with all refpeft and dutie.
Rof. Young man, haue you challenged Charles the
Wraftler?
Orl. No faire Princeffe : he is the generall challenger,
I come but in as others do, to try with him the ftrength 165
of my youth.
157. h€ther\ hither Ft Theob. Warb. Johns. Steev. Mai. Sing.
Mon/ituer] Mounfieur Yl, Sta. Huds. princes^ call Dyce.
158. Duke goes apart. Theob. 161. them\ htr Rowe, Pope, Han.
159. Princeffe cals] Princeffe calls F, 165. but in] but Ff, Rowe, Pope,
Fj. princefs calls F^. Princesses call Han.
with Blackwood, and for < odds,' in the sense of advantage or superiority, cites Lev^s
Lab. L. I, ii, 183: 'Cupid's butt-shaft is too hard for Hercules' club; and therefore
too much odds for a Spaniard's rapier.' — Ed.]
159, 161. the Princesse cals . . . them] Whiter: It is Celia only who calls
for him; and the answer of Orlando, < I will attend them^ as Celia is accompanied by
Rosalind, does not invalidate the ancient reading. [See Theobald's change in Text.
Notes.] Caldecott interprets < them ' as * those of the princess's party, or the prin-
cesses.' Knight observes: *When Orlando answers, "I attend them,** he looks
towards Celia and Rosalind ;' and Collier and White to the same effect. Walker
(Crit, i, 263) gives this among his many instances where s has been interpolated or
omitted, and adds < certainly <* the princesses call for you," as some editions have it.'
In his Vers. 248, he again cites the passage, and asks ' Is there an erratum in both
these words, or merely in cals f I think the former.' Dyce : I prefer *■ the princess'
call for you :' the plural form princes^ occurs in Temp. I, ii, 173, while princesses is
not once found throughout the whole of Shakespeare's works. Still, whether we
read * the princess calls,' &c. or *• the princess* call, &c., an inconsistency will remain.
Mr Lettsom not improbably conjectures that the speech now given to Celia, < Call him
hither,' &c., should have the double prefix *Cel. and Ros* : < this notion,' he adds, < is
in some degree supported by the Duke's inmiediately preceding words, ** Speak to
him, ladies;** as well as by the fact that Rosalind is the first to address Orlando,
which is not altogether consistent with Celia only requesting Le Beau to call him.
At any rate, it seems qtiite impossible, if " princess " is a singular, to explain « I attend
them,** though Caldecott, Knight, and Collier have made the attempt' Wright : It
is Celia who gives the order, and it may be that Orlando in his reply is thinking of
Rosalind, and is made to say * them ' designedly. [I agree with Dyce that the error
lies in the interpolated s in < cals.' There was the sound of a plural in * Princesse '
which sufficed for Shakespeare's ear, but did not apparently appeal to the composi-
38 AS YOU LIKE IT [act i, sa iL
Cel. Yong Gentleman, your fpirits are too bold for 167
your yeares : you haue feene cruell proofe of this mans
ftrength, if you faw your felfe with your eies, or knew
your felfe with your iudgment, the feare of your aduen- 170
ture would counfel you to a more equall enterprife. We
pray you for your owne fake to embrace your own fafe-
tie, and giue ouer this attempt.
Rof. Do yong Sir, your reputation fhall not therefore
be mifprifed : we wil make it our fuite to the Duke, that 175
the wraftling might not go forward.
OrL I befeech you, punifli mee not with your harde
thoughts, wherein I confeffe me much guiltie to denie 178
169, 170. your eus.,.your iudgment'] Johns.
our eyes,,. our judgment Han. Warb. 178. wAerein} Therein Johns, oanj.
Cap. Coll. (MS), ii, iii, Dyce iii, Huds. herein Cap. conj. Dyce iii. Om. Sped-
your own eyes., .your own judgment ding (ap. Cam. £d.) Huds.
tor's. The triple sound of s in Princesses is certainly harsh, which is sufficient, in the
present case, I think, to condemn it. — Ed.]
169, 170. your eies . . . your iudgment] Warburton: Absurd! The sense
requires that we should read, our eyes and our judgement. The argument is. Your
spirits are too bold, and therefore your judgement deceives you ; but did you see your-
self with our more impartial judgement, you would forbear. Johnson : I cannot find
the absurdity of the present reading. If you were not blinded and intoxicated (says
the Princess) with the spirit of enterprise, if you could use your own eyes to see^ or
your own judgement to know yourself; the fear of your adventure would counsel you.
[See Johnson's reading in Text. Notes.] Heath (p. 145) : A very modest proposal
truly [Warburton's reading] that Orlando, who must have been taught by experience
the measure of his own skill and strength, should rather refer himself to the judge-
ment upon the first view of two ladies to whom he was till that moment a perfect
stranger ! Grant White : It would seem very superfluous to point out that * eyes *
and 'judgement* are the emphatic words here, were it not for Warburton's pro-
posal. Walker {Crit. ii, 7): Siu^ly our. *Your' occurs twice just before, and
three times immediately after, which probably helped to mislead the printer's eye.
Coleridge also says * your ' should surely be our. * But,' says Wright, * the mean-
ing is, " If you used the senses and reason which you possess " ' [which is substan-
tially the same interpretation as Johnson's, Heath's, White's, and Cowden-Clarke's,
and which I cannot but think the true one. — Ed.]
172. own safetie] Is not this second ' own ' suspicious? — Ed.
175, 176. wil . . . might] For other instances of the irregular sequence of tenses,
see Abbott, § 370.
178. wherein] Capell: This does not seem express'd with that neatness which
is so conspicuous in this play above any of the others ; For with what propriety can
Orlando be said to be guilty in the ladies' hard thoughts ? or why confess himself
guilty in those thoughts. He might indeed confess himself guilty, in denying their
request; and this leads to what (perhaps) is the true reading, herein: < wherein'
ACT I, sc. ii.] AS YOU LIKE IT 39
fo faire and excellent Ladies anie thing. But let your
feire eies, and gentle wifhes go with mee to my triall; i8o
wherein if I bee foil'd, there is but one fhamM that was
neuer gracious : if kilM, but one dead that is willing to
be fo : I fhall do my friends no wrong, for I haue none to
lament me:the world no iniurie, for in it I haue nothing:
onely in the world I fil vp a place, which may bee better 185
fupplied, when I haue made it emptie.
kof. The little ftrength that I haue, I would it were
with you.
Cel. And mine to eeke out hers.
Rof. Fare you welhpraie heauen I be deceiuM in you. 190
CeL Your hearts defires be with you.
187. tkafl Om. Rowe. 191. Cel.] Orlando. Theob. Han.
189. eeke (ml] eekout FjF^. Warb.
stands at the head of another period, only two lines below ; which might be the occa-
sion of its getting in here. [This conjecture of OtpelPs has been generally credited
to Mason, who also proposed it, probably independently. The latter observes] :
As the word * wherein ' must always refer to something preceding, I have no doubt
but there is an error in this passage, and that we ought to read herein^ instead of
* wherein.' The hard thoughts that he complains of are the apprehensions expressed
by the ladies of his not being able to contend with the wrestler. He beseeches that
they will not punish him with them. Malonb : The meaning, I think, is, Punish me not
with your unfavourable opinion (of my abilities) ; wkich, however ^ I confess, I deserve
to incur^ for denying such fair ladies any request. [Staunton quotes this ; and Calde-
cott's }>araphrase is substantially the same.] Knight : Mason says ' the hard thoughts
that he complains of are the apprehensions expressed by the ladies of his not being
able to contend with the wrestler.' Hard thoughts ! The tender interest which the
ladies take in his safety to be called * hard thoughts ' — to be complained of? Surely
the meaning is, Punish me not with your hard thoughts, because I confess me much
guilty to deny what you ask. < Wherein ' is decidedly used in the sense of in that.
Walker {^Crit. i, 309) suspects * wherein,* and Dyce (ed. iii) adds that it is 'justly*
suspected. Wright : 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's interpretation would make very good sense, but \because or in that"] is not
the meaning of * wherein.* Mr Spedding would omit * wherein ' altogether.
178. me] For instances of ' me ' used for myself see Abbott, § 223.
182. gracious] Singer : Anciently used in the sense of the Italian gratiato, t. /.
grcued^ favoured^ countenanced; as well as for graceful^ comely ^ well-favoured^ in
which sense Shakespeare uses it in other places.
185. onely] This transposition is common in Shakespeare; we have another
instance in 'the onely prologues' in V, iii, 12. Compare 'Which touching but my
gentle vessel's side,' Mer. of Ven. I, i, 37, or line 50 in the same scene, « Therefore
my merchandise makes me not sad.' Abbott, §$420^ 42X, gives other examples.
—Ed.
40 AS YOU LIKE IT [act i, sc. il
Char. Come, where is this yong gallant, that is fo 192
defirous to lie with his mother earth /
Orl. Readie Sir, but his will hath in it a more modeft
working, 195
Duk. You fhall trie but one fall.
Ota. No, I warrant your Grace you (hall not entreat
him to a fecond, that haue fo mightilie perfwaded him
from a firft.
Orl. You meane to mocke me after : you fhould not 200
haue mockt me before : but come your waies.
Rof. Now Hercules, be thy fpeede yong man.
CeL I would I were inuifible, to catch the ftrong fel-
low by the legge. Wrajlle.
Rof. Oh excellent yong man. 205
CeL If I had a thunderbolt in mine eie, I can tell who
fhould downe. Shout.
Duk. No more, no more.
Orl. Yes I befeech your Grace , I am not yet well
breath'd. 210
Duk. How do'ft thou Charles}
194. in if] it in Var. *2i (misprint?) 204. Wraflle.] They Wraftle FjF^.
201. mockt me] mockt F.F^ Rowe, 208. Charles is thrown. Rowe et
Pope, Han. seq.
200. You meane] Theobald (Zt/. Illust. ii, 329) : Should not this be *An^ you
mean,' &c. ? Mason (p. 8?) : I believe we should read, ^If you mean,' &c. Cam-
bridge Editors ( to whom Theobald's conj. had occurred independently) remark
(Note v) : And for an is a more probable reading than ^ as it may have been omitted
by the printer, who mistook it for part of the stage direction — * Orl. and * for * Orland.*
204. Wrastle] In a notice (5^. Jakrbuch^ ii, 274) of certain performances of
Shakespeare's plays in Munich, Bodenstedt mentions that, on one occasion, this
wrestling-match was so arranged behind barriers that only the upper halves of the
wrestlers' bodies were visible to the audience. Whether or not this arrangement is
novel, or has been adopted elsewhere, I do not know, but it seems to be highly com-
mendable, as far as it goes. It is questionable if the barriers might not be made much
higher to advantage. Wrestling is a sport so unusual at this day and in this country,
and our stage Orlandos and Charleses are generally such feeble adepts in it, that this
match, as it is usually seen, is far from thrilling, and we are amazed not so much at
Orlando's prowess as at Charles's accommodating mortality .^£d.
204, 207. Note the imperative mood of these stage-directions, indicating a stage
copy. — ^Ed.
207. downe] For the omission of verbs of motion before certain adverbs, see
Abbott, §§ 30, 41, &c.
210. breath'd] Schmidt: That is, in the full display of my strength. Equivalent
to mis en haleine.
w.
ACT I, sc. il] AS YOU LIKE IT 41
Le Beu. He cannot fpeake my Lord. 212
Duk. Beare him awai e :
What is thy name yong man ?
Orl. Orlando my Liege, the yongeft fonne of Sir Ro- 215
land de Boys.
Duk. I would thou hadft beene fon to fome man elfe,
The world efteem'd thy father honourable,
But I did finde him ftill mine enemie :
Thou fhould'ft haue better pleasM me with this deede, 220
Hadft thou defcended from another houfe :
But fare thee well, thou art a gallant youth,
I would thou hadft told me of another Father.
Exit Duke. .
Cel. Were I my Father (Coze) would I do this ? 225
Orl. I am more proud to be Sir Rolands fonne,
His yongeft fonne, and would not change that calling
To be adopted heire to Fredricke.
Rof. My Father louM Sir Roland as his foule,
And all the world was of my Fathers minde, 230
Had I before knowne this yong man his fonne,
I fhould haue g^uen him teares vnto entreaties,
Ere he fhould thus haue ventured
CeL Gentle Cofen, 234
213, 214. Prose, Pope et seq. Theob.
215, 216. Roland de Boys] Rowland 224. Scene VII. Pope+.
de Boyes Ff. 226. fnore] most Han.
224. Exit...] Exit.. .with his train. 22y. /onm,"] son; — Cap.
219. still] That is, constantly. See Shakespeare passim,
220. should'st] An instance of the peculiar use of should^ to which attention was
called in Mer, of Ven. Ill, ii, 289. It is not the past tense of shall^ nor does it sug-
gest compulsion or 'bounden duty' (see Abbott, §322)^ Of course, at the present
time we should use nwfiii/.— Ed.
227. yongest sonne] Malons suggests that some such phrase as 'than to be
descended from any other house, however high,* is to be understood. It is almost
superfluous to remark that Capell*s punctuation has been adopted since his day,
whereby the 'sentence is shown to be incomplete ; < such things,* says Capell, < have
their beauty in a free dialogue.'
227. calling] Steevens: That is, appellation; a very unusual, if not unprece-
dented, sense of the word. [It is the only instance given by Schmidt with this mean-
ing, who says that, in the sense of vocation^ profession^ < it is always used of the eccle-
siastical profession, except in Per. IV, ii, 43,' where Pandar says, * Neither is our
profession any trade ; it's no calling ;* it is just possible that even in Pericles there
is no exception to the general usage.— Ed.]
43 AS YOU LIKE IT [act I. SC n.
Let vs goe thanke him, and encourage him : 235
My Fathers rough and enuious difpofition
Sticks me at heart : Sir, you haue well deferu'd,
If you doe keepe your promifes in loue ;
But iuftly as you haue exceeded all promife,
Your Miftris ihall be happie. 240
Rof. Gentleman,
Weare this for me : one out of fuites with fortune 242
237. SHck5'\ SHckes F,. 239. all'\ Om. Cap. Stecv. Dycc iii,
nu at'\at my Han. Huds.
238. lou€ ;'\ love, Ff. love Cap. promi/e] in promife Ff, Rowe,
239. iufily\ justly y Cap. Pope, Theo^. Warb. promise here
as... promi/e^ as you^ve exceeded Ktly.
promise Han. 242. fortune'] fortune; Cap.
236. enuious] Dycs: Malicious.
237. at heart] This is, I think, an instance of the absorption of the definite article
in the dental termination of * at.* This absorption, originally adopted for the sake of
ease in pronunciation, led gradually to the omission of the article in other cases, as in
• milk comes frozen home in pail^ or in * spectacles on nose and pouch on side.^^^ED.
239. iustly] Knight : In the degree that you have gone beyond all expectation :
but as justly. Wright : That is, exactly. Compare the use of * righteously,' line 13.
239. exceeded] Walker (Crit. i, 288) : Read, metri gratiH^ exceWd» I think,
too, * as y* have here exceird,* &c. as an antitheton to * in love.*
239. all promise] White (ed. i, referring to ' in promise * of the Ff ) : But Or-
lando had not exceeded all in promise ; he, or his performances, exceeded all promise.
242. Weare this] Theobald (ed. i) : There is nothing in the sequel of this scene
expressing what it is that Rosalind here gives to Orlando. Afterwards, in the third
Act, when Rosalind has found a copy of verses in the woods writ on herself, and Celia
asks her whether she knows who has done this, Rosalind replies, by way of question,
* Is it a man ?* To which Celia again replies, < Ay, and a Chain that you once wore^
about his neck.* Lady Martin (p. 410) : Rosalind needs not the prompting of her
cousin to < go thank him and encourage him ;' but while Celia finds ready words,
Rosalind's deeper emotion suggests to her a stronger token of the admiration he has
roused. She has taken a chain from her neck, and stealthily kissing it — at least I
always used to do so— she gives it to Orlando, saying (11. 242, 243). Here she pauses,
naturally expecting some acknowledgement from Orlando ; but finding none come,
and not knowing how to break off an interview that has kindled a strange emotion
within her, she adds, ' Shall we go, coz ?' Celia, heart-whole as she is, has no such
difficulty. <Ay. Fare you well, fair gentleman,* she says, and turns away.
242. suites] Johnson : This seems an allusion to cards, where he that has no
more cards to play of a particular sort, is out of suit, Steevens : It means, I believe,
turned out of her service, and stripped of her livery. Malone : So afterwards Celia
says, < but turning those /u/r out ofservice^ let us talk in good earnest.* CaldecX)TT :
Its import seems equivalent to < out of her books or graces.* Halliwell records the
conjecture of < an anonymous critic, " out of sorts^^ that is, discontented with the blind
goddess ; and another suggests the explanation << out of her favour,'* and not obtaining
ACTi.sc. ii.] AS YOU LIKE IT 43
That could giue more, but that her hand lacks meanes, 243
Shall we goe Coze ?
CeL I : fare you well faire Gentleman, 245
OrL Can I not fay, I thanke you? My better parts
Are all throwne downe, and that which here ftands vp
Is but a quintine, a meere liuelefle blocke. 248
243. c<mld'\ vxnUd Han. Dyce ill, Coll. neck. Theob.
iii. 245. /] Ay Rowe.
nuanes\ meane F,. 248. meere\ more F^, Rowe.
244. Giving him a chain from her liueUJfe'\ lifeless Rowe ii
the smts^ the petitions, she addressed other.' Wright also suggests < one to whose
entreaties Fortune grants no favours, ¥rith a play upon the other meaning of the word,'
namely livery. [See Winter's note on II, vii, 47.]
243. could giue more] Caldecott : That is, who could find in her heart to give
more, were her ability greater. Wright refers to what Anthony says of Fulvia,
< She's good, being gone ; The hand could pluck her back that shoved her on,' Ant,
6* Cleop. I, ii, 131.
246. better parts] Caldecott : Compare * it hath cow'd my better part of man,'
Macb. V, viii, 18 ; that is, his spirit. We may therefore conclude that by these terms
ipirit and sense were meant here.
248. quintine] Warburton, to whom, despite his arrogant and offensive style,
we must concede ingenuity, thus interprets this allusion, which he pronounces < beau-
tiiid ' : A quintain was a post or butt set up for several kinds of martial exercises, against
which they threw their darts and exercised their arms. < I am,' says Orlando, < only
a quintain, a lifeless block, on which love only exercises his arms in jest, the great
disparity in condition between Rosalind and me, not suffering me to hope that love
will ever make a serious matter of it.* Whereupon, Guthrie {Crit, Review\ 1765,
vol. XX, p. 407) called Warburton to task, and denied that the ' quintaine ' was the
object of darts and arms, in fact, < it was a stake driven into a field, upon which were
hung a shield and other trophies of war, at which they shot, darted, or rode, with a
lance. When the shield and the trophies were all thrown down, the ** quintaine "
remained. Without this information how could the reader understand the allusion of
•* my better parts are all thrown down " ? &c.' As there seems to be here a difference
of opinion as to the exact nature of a < quintain,' all the archaeological resources of the
commentators were summoned to the field ' to fight for a spot,' as Steevens says, quot-
mg Hamlet, < whereon the numbers cannot try the cause ;' and the consequence is that
we have page upon page of explanations, and quotations from Latin, French, Italian,
and English sources, accompanied by many wood-cuts and engravings, all of which
•re extremely valuable as an archaeological contribution to the subject, but throw little
light on Orlando's allusion other than is revealed in the definition of a quintain as
given by Strutt and quoted below. For ampler researches those who list may consult :
Grey, vol. i, pp. 171-173; Whiter, pp. 9-13; Variorum of '21, pp. 514-519; Calde-
cott, Appendix^ p. 4; Knight, Illustrations y p. 220; Brand, Pop. Antiq. i, 177; ii, 163
(Bohn's ed. ; several other authorities are there cited, some whereof are quoted by
Wright); Theobald (Nichols's Lit, lUus. ii, 329), who cites Stow's Survay ; and
Halliwell ad loc. The extract from Strutt (p. 112, ed. Hone, 1 841) is as follows:
* Tilting or combating at the quintain is certainly a military exercise of high antiquity>
44 AS YOU LIKE IT [act i, sa il
Rof, He cals vs back : my pride fell with my fortuneS|
He aske him what he would : Did you call Sir? 250
Sir, you haue wraftled well, and ouerthrowne
More then your enemies. 252
249. fortunes^ forttmes F,Fj. fortunes, F^.
and antecedent, I doubt not, to the justs and tournaments. The quintain, originally,
was nothing more than the trunk of a tree or post set up for the practice of the tyros
in chivalry. Afterward a stafif or spear was fixed in the earth, and a shield, being
hung upon it, was the mark to strike at ; the dexterity of the performer consisted in
smiting the shield in such a manner as to break the ligatures and bear it to the ground.
In process of time this diversion was improved, and instead of the stafif and the shield,
the resemblance of a himian figure carved in wood was introduced. To render the
appearance of this figure more formidable, it was generally made in the likeness of a
Turk or Saracen, armed at all points, bearing a shield upon his left arm, and brandish-
ing a club or sabre with his right. Hence this exercise was called by the Italians
** running at the armed man, or at the Saracen." The quintain thus fashioned was
placed upon a pivot, and so contrived as to move round with great facility. In running
at this figure it was necessary for the horseman to direct his lance with great adroitness,
and make his stroke upon the forehead between the eyes or upon the nose ; for if he
struck wide of those parts, especially upon the shield, the quintain turned about with
much velocity, and, in case he was not exceedingly careful, would give him a severe
blow upon the back with the wooden sabre held in the right hand, which was con-
sidered as highly disgraceful to the performer, while it excited the laughter and ridi-
cule of the spectators.' ' There were other kinds of quintains,' adds Dyce, < but the
words of Orlando, ** a quintain, a mere lifeless block ^^ seem to show that Shakespeare
alludes to the kind above described.' The simile itself was suggested, as Whiter
says in substance, not only by the feats of activity which were then going forward, but
by the assault upon his own heart which he had just experienced; 'the phrases
<< thrown down " and " stands up " were impressed on Shakespeare's mind by the
subject of wrestling which had just occupied his attention ;' it is Winter's endeavour,
be it remembered, in his thoughtful book, to explain various passages on the principle
of Locke's doctrine of the Association of Ideas. — ^£d.
250-252. Blackwood's Magazine (April, 1833, p. 550, qu, Campbell ?) : Giving
him a chain from her neck ! How much worthier of a woman such frankness, not
unaccompanied with reserve, than the pride that sat in the eyes of high-bom beauty,
as with half-averted face she let drop glove or scarf to her kneeling knight, with silent
permission to dye it for her sake in his heart's blood ! Not for all the world would
Rosalind have sent her wrestler to the wars. But, believe us, she said aside to Celia,
and in an undertone, though looking on Orlando, < Sir, you have wrestled well, and
overthrown More than your enemies.' She felt it was so, and could not help saying
it, but she intended not that Orlando should hear the words, nor did he. All he heard
was, < Did you call, sir?' So far <she urged conference,' and no farther; and 'twas
the guileless hypocrisy of an unsuspecting heart! For our own parts, we see no
reason in nature, had circumstances allowed it, why they should not have been
married on the spot
252. Lady Martin (p. 411) : This 'more than your enemies' is very significant
and speaks plainly enough, though spoken as it would be, with great reserve of
ACT I, sc. ii.] AS YOU LIKE IT 45
CeL Will you goe Cozef 253
Rof. Haue with you : fare you well. ExiU
OrLVJhdX paflion hangs thefe waights vp5 my toong? 255
I cannot fpeake to her, yet fhe vrg^d conference.
Enter Le Beu.
O poore Orlando ! thou art ouerthrowne
Or Charles, or fomething weaker mafters thee.
Le Beu.Good Sir, I do in friendfhip counfaile you 260
Te leaue this place ; Albeit you haue deferu'd
High commendation, true applaufe, and loue;
Yet fuch is now the Dukes condition.
That he mifconfters all that you haue done : 264
257. Enter...] Re-enter... (after line 261. Te] F,.
259), Dyce. 264. mifconfters\ misconstrues Pope.
manner, of the favorable impression which the young wrestler has made upon her.
We may be sure that, but for his modest demeanour, Rosalind would not have allowed
herself to confess so much.
253. Lady Martin (p. 411): Celia, amused, and disposed to rally her cousin
about what looks to her rather more than ' falling in love in sport,* accosts Rosalind
mockingly in the phrase she has used but a few minutes before, < Will you go, coz ?'
' Have with you,* Rosalind rejoins, quite understanding the roguish sparkle in her
cousin's eyes, but not deterred by it from giving to Orlando as she goes an earnest
* Fare you well.* But she is still slow to leave, hoping and longing for some words
from his lips addressed to herself. When Celia takes her hand and is leading her
away, Celia bows slightly to Orlando ; but Rosalind in a royal and gentle manner
curtseys to him, wishing to show her respect for the memory of his father, the dear
friend of her father, and also her sympathy with his misfortunes. These she can give
him, if nothing else. This scene, you will agree, needs most delicate touching in the
actress. Rosalind has not much to say, but she has to make her audience feel by
subtle indications the revolution that is going on in her own heart from the moment
her eyes fall upon her future lover, down to the parting glance with which her fare*
well is accompanied. It is Juliet in the ball-room, but under conditions that demand
a far greaCer variety of expression. There is no avowal of love ; but when she linger*
ingly leaves the stage, the audience must have been made to feel that in her case, as
in Juliet's, her heart has made its choice, and that a change has come over her akin
to that which has come over Orlando. OxoN (p. 49) : When Celia sees that Rosa-
lind has fallen in love with Orland6,'she checks her desire to return and speak to
him once more, because she sees that her cousin's effusiveness is carrying her a little
too far; and she utters ' Will you go, coz ?* in a /am satis tone.
259. Or . . . or] Abbott, $ 136 : There is perhaps a disposition to revert to the
old idiom : other .... other. The contraction of other into < or * is illustrated by
wh^er for whether in Old English and the Elizabethan dramatists.
263. condition] Johnson: It here means character^ temper^ disposition. So
Anthonio, in the *Mer, of Ven, is called by his friend < the best condition'd man.'
46 AS YOU LIKE IT [ACTl.saiL
The Duke is humorous, what he is indeede 265
264. misconsters] < This form/ says Dyce (Remarks, p. 54), * is common in our
early writers.' It represents the early pronmiciation, which was probably in a transi-
tion state when the Folio was printing. We find this same form in / Hen. VI : II,
iii, 73 (p. 103, a, F,) : * Be not dismayed, faire Lady, nor mi/confter The minde of
Talbot;' and also in Rick, III: III, v, 61 (p. 190, b, F^) : ^Mifc<mfter vs in him and
wayle his death,' and again, * I be mifconfterd in the place I go,' Mer. of Ven, II, ii,
1S4; but in the only other passages where the word occurs we have the spelling mis-
construe: <Alas, thou hail mi/conftrued euerything,' Jul, Cas. V, iii, 84 (p. 129, a,
F,) ; and * So much mi/conftrued in his Wantonneffe,* / Hen, IV: V, ii, 69 (p. 70, b,
F,). See also confter in Otk, IV, i, 118, and note in this edition, where all the
instances are given of the occurrence of that word in the Folio ; from which list it
appears that it was spelled conster three times and construe eight times ; in R, 0/ Z.
and in Pass. Pilg. it is spelled conster; so that the proportion stands five to eight, and
shows, I think, that the pronunciation was in a state of transition. See also Greene's
James tke Fourtky p. io6, ed. Dyce ; and Peek's Tke Arraignment of Paris, p. 24,
ed. Dyce, where Dyce cites a passage from Marston in which conster rhymes with
»«wM/fr.— Ed.
265. humorous] This is defined as capricious by Caldecott, Knight, Dyce, Staun-
ton, Wright, and Rolfe; Dyce vAd^ perverse, and Staunton Xo perverse adds comtrarp-
ous, Halliwell's first definition is capricious, but he continues, * it is sometimes used
in the sense oi fantastic, iht meaning given to the word by Minsheu, or, perhaps,
peevisk, wayivard, as Coles has it, translating it by morosus. Cotgrave has, "Averti-
neux, moodie, humorous;"- and again, *^ Avoir le cerveau un peu gaillard, to be
humorous, t03rish, fantasticall, new-fangled." ' Despite this general agreement, I
doubt if ' humorous ' is here exactly defined by capricious, or if capricidus exactly
defines the Duke. The Duke's predominant trait seems to be suspicion, bred of the
treachery to his brother. This suspicion blazes forth at times, as in such inconstant
starts as the banishment of Rosalind, but it is persistent and consistent, which can
scarcely be affirmed of a temperament that is capricious. Moreover, it would never
do to call the Duke's conversion and reconciliation to the Church, in the Fifth Act, a
caprice. Yet this humorousness, whatever it be, is emphasised as a characteristic of
the Duke. He is twice called * humorous ' ; here by Le Beau, and again by old
Adam. The only other instance where 'humorous' is used in this play is where
Jaques thus characterises his melancholy ; and surely if any melancholy were ever
ingrained and persistent, and less liable to freaks or caprices, it is Jaques's ; he him-
self says expressly that it is not * fantastic' It behooves us, then, I think, to find a
meaning for 'humorous' somewhat nicer than merely capricious, Ben Jonson, in
the Induction to Every Man Out of kis Humour, gives a definition of * hmnour,'
which, contemporaneous as it is, is more likely to be exact than any modem attempt to
define it ; from * humour ' the meaning may be presumably extended to ' humorous.*
Asper says to Mitis, < When some one peculiar quality Doth so possess a man, that it
doth draw All his affects, his spirits, and his powers. In their confluctions, all to run
one way, This may be truly said to be a humour.' Such a dominant trait, then, as
this, it would be hardly correct to term a caprice, or a man thus dominated, capricious.
A man thus 'humorous* may be keacbtrong, wayward, and his 'humour' may
assume an odd, extraordinary turn, but it would be steady, persistent, and by no means
capricious; it might manifest itself unexpectedly, but all the 'humorous' man*s
'afiects would run one way.' Wherefore, I think, and I speak with difiidence,
ACT I. sc. il] AS YOU LIKE IT 47
More fuites you to conceiue,then I to fpeake o£ 266
Orl. I thanke you Sir ; and pray you tell me this,
Which of the two was daughter of the Duke,
That here was at the Wraftling ?
Le 5^«.Neither his daughter,if we iudge by manners, 270
But yet indeede the taller is his daughter,
The other is daughter to the banifh'd Duke,
And here detained by her vfurping Vncle
To keepe his daughter companie, whofe loues
Are deerer then the naturall bond of Sifters : 275
266. /] nu Rowe+,Cap. Mai. Steev. 271. taller] Ff, Cam. shorter Rowc
Coll. Sing. Ktly. ii + » Cap. Steev. Cald. Knt, Coll. ii, Dyce
268. the] these Rowe. ill, Huds. smaller Mai. Bos. Coll. i, Sing.
of the Duke'] to the Duke F^F^ Wh. i, Dyce i, Qke, Rife, lower Sta, less
Rowe. taller KUy. lesser Spedding, Wr. Wh. ii.
269. was] were Han. Cap. Dyce iii. 272. other is] other's Pope + .
< homoroiis ' in the present play is more nearly defined by wayward^ headstrong^ obsti-
nate, than by capricious. — Ed.
266. then I] See line 17 supra, and I, i, 160. Abbott, § 216 : After a conjmic-
tion and before an infinitive we often find /, thou, &c., where in Latin we should
have * me,' * te,* &c The conjmiction seems to be regarded as introducing a new
sentence, instead of connecting one clause with another. Hence the pronoun is put
in the nominative, and a verb is perhaps to be supplied fix)m the context. Thus here,
' More suits you to conceive than I (find it suitable) to speak of,' i. e. * than that I
should speak of it' [See also Hunter's plea (i, 344) for retaining archaic forms,
urged at a time when there was need of it ; nor is it altogether needless now-a-days,
when we find as good a scholar as Keightley changing < I ' to me. — Ed.]
271. taller] See Text Notes. Malone: Some change is absolutely necessary;
for Rosalind, in a subsequent scene, expressly says that she is * more than common
tall,* and assigns that as a reason for her assuming the dress of a man, while her
cousin Celia retained her female apparel. Again, in IV, iii, Celia is described by
these words, * the woman low, and browner than her brother ;' f . e. Rosalind. [As
between shorter and smaller, Malone urges that the latter is much < nearer to the cor-
rupted reading.'] Steevens : Shakespeare sometimes speaks of little women, but I
do not recollect that he, or any other writer, has mentioned small ones. Malone :
Small is used to express lowness of stature in Greeners James the Fourth [Act IV, ad
fin.] : < But my small son made prettie hansome shift To save the queene his mistresse
by his speed.' Knight : Shakespeare uses short with reference to a woman — * Leo-
nato's short daughter,' Much Ado, I, i, 216. [This is one of the very rare omissions
in Mrs Cowden-Qarke's Concordance, s. v. short.] Collier, in his First Edition,
approves of Malone's smaller, and adds that ' shorter and ** daughter " read disso-
nantly ;' but in his second edition, influenced by his Old Corrector, he adopts the
* dissonant ' shorter. Walker [Cril. iii, 60) : I suspect this is a slip of Shakespeare's
pen. The word he had in his thoughts was probably shorter^ not smaller, which in
this sense belongs to later English.
48 AS YOU LIKE IT [act i. sc. ii.
But I can tell you, that of late this Duke 276
Hath tane difpleafure *gainft his gentle Neece,
Grounded vpon no other argument,
But that the people praife her for her vertues,
And pittie her, for her good Fathers fake ; 280
And on my life his malice 'gainft the Lady
Will fodainly breake forth : Sir, fare you well,
Hereafter in a better world then this,
I fhall defire more loue and knowledge of you.
Orl. I reft much bounden to you : fare you well. 285
Thus muft I from the fmoake into the fmother,
From tyrant Duke, vnto a tyrant Brother,
But heauenly Rofaline. Exit. 288
277. tane\ ta'm Rowe. 2S4. Exit Rowe.
Neece] Neice Fj. 285. fare you well] fareyomvell F,.
279. Jur vertues] vertues F,.
283. better world] Steevens: So in Car. II I, iii, 135: < There is a world else
where.' Wright: That is, in a better age or state of things. [Wordsworth (p
300) interprets this as an expression of faith and hope, and as an allusion to the world
beyond the grave. To me Wright's interpretation is decidedly the true one ; Words-
worth's interpretation (which is undoubtedly a mere oversight on the part of the
gentle and reverend author), would be singularly inappropriate under the drcum*
stances. — ^£d.]
286. smother] Wright; Out of the fiying-pan into the fire. < Smother' is the
thick, stifling smoke of a smouldering fire. Bacon uses ' to pass in smother,' for to be
stifled^ in Essay xxvii, p. 112; and * to keep in smother' for to stifle, in Essay xxxi,
p. 134.
2S8. MoBERLY : These words are said and prolonged with a burst of enthusiasm
which sweeps away all his gloomy reflections.
ACT I, sc iu.] AS YOU LIKE IT 49
Scena Terttus.
Enter Celia and Rof aline.
CeU Why Cofen, why Rofaline : Cupid haue mercie,
Not a word ?
Rof. Not one to throw at a dog.
Cel. No, thy words are too precious to be caft away 5
vpon curs, throw fome of them at me ; come lame mee
with reafons.
Rof. Then there were two Cofens laid vp, when the
one fhould be lam'd with reafons, and the other mad
without any. lO
CeL But is all this for your Father ?
Rof. No, fome of it is for my childes Father ; Oh
how full of briers is this working day world. 13
2. Cofen\ Co/n F,. 12. childes Father] father's child
Rofaline'\ Rofeline F^. Rowe ii, Pope, Han. Warb. Johns. Knt,
5. thy\ my F,F^. Dyce, Coll. (MS) ii, Clke, KUy, Huda,
precious] precoitms F,. Coll. iii, Wh. ii.
6. come] come, Ff. 13. day tvorld] day-world F^.
I, 2. Rosaline] This spelling, and where it again occurs in this scene, lines 93
and loi, Walker (Crit, ii, 66) attributes to the frequent confusion in the Folio of the
final d and e. It may be so ; but the frequency with which it occurs (for these are
not the only instances) indicates that, as was natural, in common pronunciation the
final d was somewhat slurred. That the name was Rosalind is made sure by
Orlando's verses and Touchstone's doggerel in the Third Act. — Ed.
9. mad] Is this word quite above suspicion ? Is it not somewhat early for Rosa-
lind to confess herself madly in love ? Or is it that she is mad, thus to love without
reason ? — Ed.
II. Father] Moberly : The reason which Rosalind had given for her sadness in
Scene ii. Imagine the ironical accent on this word.
12. my childes Father] Theobald: That is, 'some of it is for my Sweetheart,
whom I hope to marry and have children by.* Coleridge (p. 108) : Who can doubt
that this is a mistake for ' my father's child,' meaning herself? According to Theo-
bald's note, a most indelicate anticipation is put into the mouth of Rosalind without
reason ; and besides, what a strange thought and how out of place and unintelligible !
[I do not care to discuss this passage. It is enough to give, as above, the two most
eminent advocates on the opposing sides. Further discussion cannot but emphasise
the thought, whereof the purity or impurity will depend on the bias of the reader ;
' the wonn, look you, will bite after its kind.' It is well, however, in this case, and
4
50 AS YOU LIKE IT [act i, sc. iil
CeL They are but burs, Cofen, throwne vpon thee
in holiday foolerie, if we walke not in the trodden paths 15
our very petty-coates will catch them.
Rof. I could fhake them off my coate, thefe burs are
in my heart.
CeL Hem them away.
Rof. I would try if I could cry hem, and haue him. 20
CeL Come, come, wraftle with thy affeftions.
Rof. O they take the part of a better wraftler then
my felfe.
CeL O, a good wi(h vpon you : you will trie in time
in difpight of a fall: but turning thefe lefts out of feruice, 25
let vs talke in good earned : Is it poffible on fuch a fo-
daine, you fhould fall into fo ftrong a liking with old Sir
Roulands yongeft fonne ? 28
Vj. ftrong\ftrange F^F^, Rowe. 28. Roulands] F,.
in all similar cases (which will, hereafter, in this play receive, in the Commentary, no
notice at my hands), to bear in mind that modes of thought and of speech, as well as
of manners, shift and change from age to age as widely as do the costumes, and that
every age must be measured by its own standard. Moberly says, ' Shakespeare would
have smiled * at Rowe's emendation. Mrs Jameson says wisely : ' If the freedom of
some of the expressions used by Rosalind or Beatrice be objected to, let it be remem-
bered that this was not the fault of Shakespeare or the women, but generally of the
age. Portia, Beatrice, Rosalind, and the rest, lived in times when more importance
was attached to things than to words ; now we think more of words than of things ;
and happy are we in these later days of super-refinement, if we are to be saved by
our verbal morality.' — Ed.]
20. cry hem, and haue him] According to Warburton, this is a proverbial
expression signifying * having for asking * ; Walker also {Crit. ii, 168) thinks that < it
must be a proverbial expression,' and adds, ' though I cannot find it in Ray,' wherein
the present editor also has looked for it in vain. Moberly surmises that it is < a game
like hunt-the-slipper.' Is it, however, necessary, after all, to find any deeper meaning
than the merest play on words in * hem ' and < him ' ? — Ed.
24. a good wish upon you] Used where < my blessing on you ' would be too
strong.— Ed.
25. The page in the Folio, which begins with this line, is wrongly numbered 187 ,.
It should be 189. — Ed.
26. 27. such a sodaine] Wright : Shakespeare uses < on a sudden,' * of a sud-
den,' and ' on the sudden,' elsewhere, but not * on such a sudden.'
27. strong] As far as I know, Walker {Crit. iii, 23) is the only critic who
approves of strange of F^F^, for which, I think, much could be urged here, apart
from the fact that confusion has elsewhere arisen between these two words (cf. * O
strong and fasten'd villain ' of Q, in Lear II, i, 77). Rosalind, by pleading the ol**
mutual love of their parents, gives merely a reason for loving Orlando at all, and why
ACT I. ISC. iii.] AS YOU LIKE IT 51
Rof. The Duke my Father louM his Father deerelie.
CeL Doth it therefore enfue that you (hould loue his 30
Sonne deerelie ? By this kinde of chafe, I Ihould hate
him, for my father hated his father deerely ; yet I hate
not Orlando.
Rof. No faith, hate him not for my fake.
CeL Why fhould I not / doth he not deferue well ? 35
34. nat'\ nor F,. 35. he not'^ not he F^F^, Rowe i.
35. /iM//] // Cap. Dyce iii.
Ihat love should not be strange^ but she would scarcely urge this parental love in the
post as a reason for vehemently loving him now. — Ed.
29. MoBERLY : A line of much resource for a good actress ; capable of being
shaded from the purely sentimental into the convincingly logical.
31. chase] Johnson : That is, by this way oi following the argument Whiter
(p. 93) : Can the reader doubt that Shakespeare fell into this expression by a combi-
nation arising from the similar sounds of *■ dear ' and deer t That our ancient writers
have sometimes quibbled on these words may be urged as an argument to convince
the reader how easy and natural it is for our Author to be led into such an associa-
tioo; altho^Qi, in the present instance, not the most distant allusion to this equivocal
m^^TLvn^ was intended by the Poet [To the unconscious association of ideas sug-
gested by Whiter, I think there may be fairly added the association arising frt>m the
word < ensue,* to which Allen calls attention in a brief marginal note : < ensue —pur-
sue (" seek peace and ensue it "). Therefore Celia adds : " by this kind of chase ** —
porsmng "/oUawing ( — logical sequence, inference.)' — Ed.]
3a. deerely] Cf. 'my dearest foe,* Ham, I, ii, 182, and notes in this edition,
where Clarendon's concise statement is given : < dear is used of whatever touches
OS nearly, either in love or hate, joy or sorrow.'
35. should I not] Theobald (Nichols, Lit, Illust. ii, 330) : Either the negative
aboold be expunged, or it would be clearer to read, * Why should I hate.* [This
lemarky which was in a private letter to Warburton, was not subsequently repeated in
Theobald's edition. Capell's omission of the negative was therefore original with
him.] Malone : Celia answers Rosalind (who had desired her ' not to hate Orlando,
for her sake ') as if she had said ' love him, for my sake :' to which the former replies,
* Why should I not [1. e. love him] ?' So, in the following passage, in Hen, VIII:
' Which of the peers Have uncontemn'd gone by him, or at least Strangely neglected ?'
Ukcontemn^d must be understood as if the author had written not contemn' d ; other-
wise the subsequent words would convey a meaning directly contrary to what the
q)eaker intends. [It is to be feared that Malone's ingenuity is misplaced.] Calde-
COTT : Meaning to be understood by reference to that which had preceded, f. /. upon
a principle stated by yourself, < because my father hated his father, does he not well
deserve by me /^ A^ hated f while Rosalind, taking the words simply, and without
any reference, replies, ' Let me love him for that,' i. e. for that he well deserves. Dyce
(ed. iii) followed Capell in omitting the negative ' as a manifest error, in consequence
of *• not " occurring just before and just after.' The explanation given by White
(ed« i), that ' doth he not deserve well ?' means doth he not deserve well to be hated,
Dyce pfODOonces ' utterly inconsistent with the declaration in Celia's preceding qpeech.
52 AS YOU LIKE IT [act i. sc. iu.
Enter Duke with Lords. 36
Rof. Let me loue him for that, and do you loue him
Becaufe I doe. Looke, here comes the Duke.
CeL With his eies full of anger.
Duk. Miftris, difpatch you with your (afeft hafle, 40
And get you from our Court.
Rof. Me Vncle.
Duk. You Cofen,
Within thefe ten daies if that thou beeft found
So neere our publike Court as twentie miles, 45
Thou dieft for it.
Rof. I doe befeech your Grace
Let me the knowledge of my fault beare with me :
If with my felfe I hold intelligence, 49
36. Scene IX. Pope + . 42, 43. me.., Ybu] me,,,, Vm, Rowe.
Enter...] In line 38, Coll. 43. Co/m] Om. Han.
** yet I hate not Orlando." ' [It must be confessed that by this omisslSbf ' not' the
text is rendered simpler, but at the cost of all archness or irony. Moreover, that Most
wholesome rule, as wholesome as it is venerable, should never be lost sight of: duriar
lectio preferendd'sty a necessity all the more urgent now-a-days, since it seems to be
about the very last rule which occurs, if ever it does occur at all, to the minds of the
emenders of Shakespeare's text. — Ed.]
37. me . . . you] These are the emphatic words.
40. safest] Singer suggests that this is probably a misprint for swiftest. Collier ;
The Duke means by this epithet to refer to the danger which would attend Rosalind
if she delayed. The (MS) hzs fastest , but change seems undesirable. Blackwood's
Magazine (1853, Aug., p. 197) : * Safest haste ' — that is, most convenient despatch-
is much more probable than ^fastest haste,' inasmuch as the lady to whom the words
were addressed is allowed ten days to take herself off in. White : In * safest haste *
there is an unconscious anticipation by the Duke of his subsequent threat. Besides,
Shakespeare would not needlessly write 'fkstest haste.* Keightley : Safe is sure,
certain, a sense which it retains in the Midland counties. Moberly : That is, the
haste which is your best safety.
42. Vncle] Abbott, § 465, scans this line by * dropping or softening * the le final
in this word, thus : And g^t | you fr6m | our c6urt. | Me, imc/e F \ You, cotisin. Un-
questionably this dropping or softening of syllables containing a liquid, final or other-
wise, in certain words, frequently takes place. But I do not think that we are to
expect to find it in broken lines. — Ed.
43. Cosen] Skeat {Diet. s. v.) : A near relative. Formerly applied to a kins-
man generally, not in the modem restricted way Low Latin cosinus, a contrac-
tion of Lat. consobrinus^ the child of a mother's sister, a cousin, relation.
44. 51. if that] For other instances of that as a conjunctional affix set post, line
122; II, vii, 76; III, V, 99; IV, iii, 121 ; or Abbott, § 287, or Mer, of Ven, III, iii,
35 ; or Shakespeare passim.
ACT I. sc. iii.] AS YOU LIKE IT 53
Or haue acquaintance with mine owne defires, 50
If that I doe not dreame, or be not franticke,
(As I doe truft I am not) then deere Vncle,
Neuer fo much as in a thought vnborne,
Did I offend your highneffe.
Duk. Thus doe all Traitors, 55
If their purgation did confift in words,
They are as innocent as grace it felfe ;
Let it fuffice thee that I truft thee not
Rof. Yet your miftruft cannot make me a Traitor ;
Tell me whereon the likelihoods depends ? 60
Duk. Thou art thy Fathers daughter, there^s enough.
Rof. So was I when your highnes took his Dukdome,
So was I when your highneffe banifbt him ;
Treafon is not inherited my Lord,
Or if we did deriue it from our friends, 65
What's that to me, my Father was no Traitor,
Then go^kmy Leige, miftake me not fo much, 67
f
50. »M>i^] »fy Rowe+. do, likelihoods] likelihood Yiy'Kcmt-k'i
Cap. Steey. Var. Cald. Knt, Coll. Cam.
56. purgation] A technical use of a legal term which seems to have escaped
RusHTON, Lord Campbell, and Heard. Vulgar purgation, as distinguished from
canonical purgation, demanded not alone oaths, but ordeals by fire, or water, or com-
bat.— Ed.
60. likelihoods] See * destinies decrees,' I, ii, loi. Walker (Crit. i, 234) : The
interpolation of an j at the end of a word, generally, but not always, a noun substan-
tive, is remarkably frequent in the Folio. Those who are conversant with the MSS
of the Elizabethan age may perhaps be able to explain its origin. Were it not for the
different degrees of frequency with which it occurs in different parts of the Folio,
being comparatively rare in the Comedies (except perhaps in The Wint, Tale),
appearing more frequently in the Histories, and becoming quite common in the
Tragedies, I should be inclined to think it originated in some peculiarity of Shake-
speare's handwriting. [See II, i, 54; or Mer, of Ven. II, ix, 35 and 0th. I, i, 31,
where several instances are given which had escaped Walker. — Ed.] Allen para-
phrases : * Tell me on what depends your belief that I am likely to be a traitor.'
66. no Traitor] Lady Martin (p. 413) : In speaking this I could never help
laying a slight emphasis on these last words. For what but a traitor had the Duke
himself been ? The sarcasm strikes home. Moberly : Rosalind's brave spirit will
not allow her to defend herself at her father's expense or to separate her cause from
his. There are few passages in Shakespeare more instinctively true and noble than
this. She had not offended her uncle, even in thought, though every one else was
doing so. But the least suggestion that her father is a traitor rouses her in arms to
defend him.
54 AS YOU LIKE IT [act i. sc. iu.
To thinke my pouertie is treacherous. 68
Cel. Deere Soueraigne heare me fpeake.
Duk. I CeliUy we ftaid her for your fake, 70
Elfe had (he with her Father rang'd along.
Cel. I did not then intreat to haue her ftay,
It was your pleafure. and your owne remorfe,
I was too yong that time to value her,
But now I know her : if fhe be a Traitor, 75
Why fo am I : we ftill haue flept together,
Rofe at an inftant, learn' d, plaid, eate together,
And wherefoere we went, like lunos Swans,
Still we went coupled and infeperable. 79
70. weftaid'\ we but staid Pope + . 79. in/eperable F,.
73. Om. Rowe i.
67, 68. so much, To thinke] See II, iii, 8 ; also Mer. of Ven. * so fond To come
abroad/ or Abbott, § 281, for instances of a similar omission of as.
73. remorse] Steevens: That is, compassion. Dyce: Tenderness of Jieart
74. that time] See Abbott, § 202, for instances of the omission of the preposition
in adverbial expressions of time, manner, &c. Thus also *all points' in line 123,
post.
76. still] That is, constantly, always ; thus in Shakespeare passim.
77. an instant] For instances where a is used for one, see Abbott, § 81.
78. lunos Swans] Wright : No commentator appears to have made any remark
upon this, but it may be questioned whether for < Juno * we ought not to read Venus,
to whom, and not to Juno, the swan is sacred. In Ovid's Metam. x, 708, 717, 718,
the same book which contains the story of Atalanta, who is mentioned in this play,
and of Adonis, Venus is represented in a chariot drawn by swans. [That this over-
sight should have escaped Shakespeare's notice is strange, but nothing so strange as
that during all these many years it lurked undetected, full in the blaze of the fierce
light that beats on every line of these plays. That it is a mistake there can be no
doubt, and most probably Shakespeare's own. As Shakespeare's knowledge of myth-
ology was, in all likelihood, mainly derived from Golding's translation of Ovid, my
hopes were high that somewhere or other the slip of referring to < Juno's swans ' might
be found in that volume. Dyce once, half mournfully, half apologetically, referred to
the < hours he had wasted ' over old, half-forgotten books. Be his sigh re-echoed here.
The expression < Juno's swans ' is not in the Fifteen Books of Golding's Translation
of Ovid.— Ed.]
79. inseperable] Collier (ed. ii): There is no reason for changing this to
inseparate^ beyond the fact that in the (MS) inseparate is inserted and < inseparable '
struck out. Perhaps inseparate is a little more in Shakespeare's manner, but he also
has * inseparable * in King John, III, iv, 66. White (ed. i) : The F, has * insepa-
rate^ a reading so consonant with Shakespeare's phraseology, and so rhythmically
advantageous to the line, that it would be acceptable without question, were not
authority against it. [An oversight White was thinking of Collier's (MS). F, and
the rest have inseparable. — Ed.]
ACT I. sc. iiL] AS YOU LIKE IT 55
Duk. She is too subtile for thee, and her fmoothnes; 80
Her verie filence, and per patience,
Speake to the people, and they pittie her :
Thou art a foole, (he robs thee of thy name,
And thou wilt (how more bright, & feem more vertuous
When (he is gone : then open not thy lips 85
Firme, and irreuocable is my doombe,
Which I haue paft vpon her, (he is bani(h'd.
CeL Pronounce that fentence then on me my Leige,
I cannot Hue out of her companie.
Duk. You are a foole : you Neice prouide your felfe, 90
If you out-ftay the time, vpon mine honor,
And in the greatneflfe of my word you die.
Exit Duke J &c.
CeL O my poore Rofaliney whether wilt thou goef
Wilt thou change Fathers ? I will g^ue thee mine : 95
T charge thee be not thou more grieuM then I am.
Rof. I haue more caufe.
CeL Thou haft not Cofen, 98
81. per\ F^. 94. whether^ where Pope + .
88. Leige'\ Liege F,. 95. Fathers'] father Ff.
91. <mt-Jlay\ out-ftany F^. 96. then] them F^.
93. Scene X. Pope + . 98. Cofen\ dearest cousin Han.
79. Mrs Jameson (p. 153) : Celia is more quiet and retired ; but she rather yields
to Rosalind than is eclipsed by her. She is as full of sweetness, kindness, and intel-
ligence, quite as susceptible, and almost as witty, though she makes less display of
wit. She is described as less fair and less gifted ; yet the attempt to excite in bei
mind a jealousy of her lovelier friend by placing them in comparison [as in lines 80-
86] fails to awaken in the generous heart of Celia any other feeling than an increased
tenderness and sympathy for her cousin. To Celia, Shakespeare has given some of
the most striking and animated parts of the dialogue ; and in particular that exquisite
description of the friendship between her and Rosalind [lines 75-79]. The feeling
of interest and admiration thus excited for Celia at the first, follows her through the
whole play. We listen to her as to one who has made herself worthy of our love ;
and her silence expresses more than eloquence.
84. seem] Warburton : Doubtless the poet wrote shine t i, e, her virtues would
appear more splendid when the lustre of her cousin^s was away. Johnson : When
the was seen alone she would be more noted.
84. vertuous] Capell (57, b) : This means gifted, not with virtue^ but virtues^
virtuous and good qualities of all sorts.
94. whether] Undoubtedly contracted, as in many other instances, into wh^er.
See Walker ( Vers. 106), or Macb, I, iii. Hi; Ham, III, ii, 193; Lear, II, i, 53;
Mer. of Ven, I, i, 183 ; V, i, 329.
98. Thou hast not Cosen,] Steevens: Some word is wanting to the metre.
56 AS YOU LIKE IT [act i, sc. iil
Prethee be cheerefull ; know^ft thou not the Duke
Hath baniftiM me his daughter? 1 00
Rof. That he hath not.
CeL No, hath not ? Rofaline lacks then the loue
Which teacheth thee that thou and I am one, 103
100. Haih'\ Has Rowe ii+. 103. t?ue\ w^Thcob. Han. Warb. Cap.
102. No^ hath notf'\ Ff, Rowe \, Not Dyce iii, Huds.
hath notf Rowe ii+. thou] she Cap. conj.
am] are Han.
Perhi^ our author wrote Indeed, thou hast,' &c. [I beg leave to doubt that in a
broken line a syllable or a foot is ever wanting, to complete the metre. — Ed.]
102. No, hath not ?] In Notes &* Qu. (vol. vii, p. 520) Arrowsmith gave, for
the first time, a correct explanation of such phrases as No did? No will? No had?
&c. by citing < a string of examples ' showing that they were equivalent to Did you
not? Will you not? Had you not? &c. Whereupon Singer (7?. p. 593) inferred
that the present line was another illustration of this same idiom, losing sight of the
fact that to be exactly parallel Celia should say No hath ? Halliwell, also, was
misled, and although neither he nor Singer made any change in the text other than in
erasing the conmia after ' No,' yet Halliwell suggested that it would be better under-
stood if printed, no, * hath not^ which is true enough, but if Celia's question is a mere
quotation of Rosalind's remark, where is the ' singular idiom ' which Halliwell says
is to be noticed here? — Ed.
103. teacheth thee] Theobald: 'Tis evident the Poet wrote * teacheth me ;^ for
if Rosalind had learnt to think Celia one part of her Self, she could not lack that
Love which Celia complains she does. [This emendation, such as it is, belongs to
Theobald, although it is generally attributed to Warburton, even in the Cambridge
Edition. Theobald proposed it in a letter to Warburton in 1729; see Nichols, Illust,
ii, 330. Wright correctly gives it to Theobald, but while correcting one oversight
commits another by giving to Theobald the change of ' am ' to are, which in reality
belongs to Hanmer. Singer proposed it, perhaps believing it to be original, in Notes
&* Qu. vol. vii, p. 593, but did not adopt it in his subsequent text. — Ed.] Capell :
The inexpressible sweetness of the sentiment contain'd in this line, and that before
it, is lost by the old reading * thee ' ; which were alone sufficient to justify the cor-
rector, and those who have follow'd him in his change. Johnson : Either reading
may stand. The sense of the established text is not remote or obscure. Where
would be the absurdity of saying. You know not the law which teaches you to do
right? Knight thinks there is reason in the change of * thee * to me; and White
(ed. i), after quoting Johnson, adds : < still, it remains true that Celia would naturally
reproach her cousin for the lack of that completeness of love which she herself pos-
sessed.' MoBERLY : That is, < which ought to teach you as it has already taught me.'
The futurity is sufficiently expressed by the context; as in <non dubito quin tibi
Chremes det gnatam.' [There seems to be no necessity for change. Johnson's illus-
tration is pat. But if any change at all is adopted, it should be as thorough as that
proposed by Capell in the following note on <am.']
103. am] Capell: The freedom us'd with grammar in 'am' has (perhaps) a
reason for 't ; the diction, it will be said, is more forcible in that than in are : But is
either diction or pathos improv'd by the transition from Rosalind in the third person
ACT I, sc. iii,] AS YOU LIKE IT 57
Shall we be fundred ? (hall we part fweete girle ?
No, let my Father feeke another heire : 105
Therefore deuife with me how we may flie
Whether to goe, and what to beare with vs,
And doe not feeke to take your change vpon you,
To beare your griefes your felfe, and leaue me out :
For by this heauen, now at our forrowes pale ; 1 10
Say what thou canft, He goe along with thee.
Rof. Why, whether fliall we goe / 112
107, 112. Whet?itr\ Whither Ff. Coll. ii. the charge Sing, Wh. i, Dyce
108. your change'] your charge Ff, ii, Ktly, Rife.
Rowe, Pope, Theob. Warb. Han. Cap. no. now,.. pale] In parenthesis, Ff.
in one line to Rosalind in the second in this ? if they are not, * thou ' should give
place to she^ as ' thee ' has to me. Keightley [Exp. 156) : Such was the structure
of the time. < My thoughts and I am for this other element ' — ^Jonson, Cynthia^ s
Revels^ I, i. It was the same in French: ' Ni la mort ni vous-m6me Ne lotfereM
jamais prononcer que je I'aime * — Racine, Bajazet^ IV, i. Wright : No one would
now think of writing * thou and I am,' but as it is an instance of a construction of
frequent occurrence in Shakespeare's time, by which the verb is attracted to the near-
est subject, it should not be altered. See Ben Jonson, The Fox, II, i, < Take it or
leave it, howsoever, both it and I am at your service.' Whits (ed. ii) : A disagree-
ment of words due to mere heedlessness.
104. sundred] White (ed. i) : It is noteworthy that this is the form of the con-
tracted participle, usually, if not always, found in books of Shakespeare's time ; as,
for instance, in this play, * seques/'r^-i/' ; * engem/'r^^* ; * minis/ 'r^^' ; * remem^'r^^' ;
* wintered*. It seems more than probable that this uniformity is not accidental ; and
it is quite possible that it represents the colloquial form of the contraction.
108. change] Malone : That is, to take your < change ' or reverse of fortune upon
yourself, without any aid or participation. Steevens : I have inserted this note, but
without implicit confidence in the reading it explains. Walker (Crit. iii, 61) : 1
have no doubt that Shakespeare wrote charge, and so the F,. The erratum change
for charge occurs firequently in the Folio. Vice versd, Tarn, of the Shr. Ill, i, 81,
the Folio reads, * I am not so nice To charge true rules for old \odd] inventions.'
Singer : Whoever glances at the passage must see that the printer has here again
mistaken y* charge of the MS for y^ change. [There is but little doubt in my mind
that charge is the true reading. To share her griefs with Celia would be no < change '
to Rosalind, but to bear them all alone and leave Celia out could not but be a heavy
charge or burden, which Celia says she must not think of. To bear the < reverse of
fortune ' bravely is not what Celia is urging, but that they may still go coupled and
inseparable. — £d.]
no. pale] Caldecott: This passage may be interpreted either <by this heaven,
or the light of heaven, with its lustre faded in sympathy with our feelings ;' or, < for,
by this heaven, now we have reached, now we are at the utmost verge ox point, in this
extremity or crisis of our fate,' &c. (for Such it was) as this word is used in Wint,
Taie, IV, ii : < For the red blood reigns in the winter's /o/f.' [This latter interpreta-
tion is extremely doubtful. — ^Ed.]
58 AS YOU LIKE IT [act i, sc. iii.
Cel. To feeke my Vncle in the Forreft of Arden. 113
Ro/. AlsLS, what danger will it be to vs,
(Maides as we are) to trauell forth fo farre ? 115
Beautie prouoketh theeues fooner then gold.
Ce/. He put my felfe in poore and meane attire,
And with a kinde of vmber fmirch my face,
The like doe you, fo (hall we paflfe along, 119
115. forth fofarre\ for farre F,. Ii8. fmirch] f milch F,. fmutch F^F^
Rowe, Pope, Han.
113. in the Forrest of Arden] Steevens: These words are an evident interpo-
Uition, without use, and injurious to the measure : < Why, whither should we go ? — To
seek my uncle/ being a complete verse. Besides, we have been already informed by
Charles the Wrestler that the banished Duke's residence was in the forest of Arden.
Knight : All the ordinary reprints of the text are here mutilated by one of Steevens's
hateful corrections, [Knight here quotes Steevens's note, and proceeds:] And so
the two poor ladies are to go forth to seek the banished Duke through the wide world,
and to meet with him at last by chance, because Steevens holds that this indication
of their knowledge of the place of his retreat is * injurious to the measure.* Walker
( Vers, 69) scans the line as it stands in the Folio by reading < forest ' as a monosyllable*
115. farre] Walker {Crit, i, 189, Article xxx — Far and near used as com-
paratives) : / Hen, IV: III, i, 256 : < And givest such sarcenet surety for thy
oaths, As if thou never walk'dst further than Finsbury.' I would read, 'As if thou
ne'er walk'dst fur* than Finsbory.* Compare IVint, Tale, IV, iv, 440 : « We'll bar
thee from succession ; Not hold thee of our blood, no, not our kin. Far than Deuca-
lion off.* Quasi farrer, furrer f In Chaucer we have ferre, further ; House of Fame,
Bk. ii, line 92, * But er I here the much ferre, I wol the tel what I am.' (Note, As
You Like It : < Maids as we are, to travel forth so far I' Does iK>t Shakespeare's
instinctive love of euphony require that we should here pronounce, perhaps write,
fur t irdpjiKj.) [Walker's ear was so delicately attuned to the harmony of verse that
one should be exceedingly cautious in gainsaying him. Yet I must confess that this
last query seems to me the weakest in an article which is otherwise admirable through*
out, and one to which it is a pleasure to record obligations. We must remember that
Walker did not live to see his notes in type ; indeed, did not even live to prepare
them for the press. They are merely the jottings of a scholar, almost his private
Oifversaria, which accounts for their abruptness and their Greek and Latin short-cuts,
which some critics, oblivious of this fact, have severely criticised as pedantic. Walker's
admirable editor, Lettsom, whose influence over Dyce, by the way, was marked, was
wise in preserving every scrap, however disjointed, of Walker's memoranda, albeit
Walker himself might have erased many a one when the heat was cooled with which
they were first struck out But whether wise or otherwise, no suggestion from a
scholar like Walker should pass unregarded by simple folk like us. — ^Ed.]
118. vmber] Malone: A dusky, yellow-coloured earth, brought from Umbria in
Italy.
iiS. smirch] See Text. Notes for other forms of this word, all of which, together
with smudge, Wright says, are originally connected with smear. Compare < the chaste
unsmirched brows of my true mother,' Ham, IV, v, 115.
ACT I, sc. iii.] AS YOU LIKE IT 59
And neiier ftir aflailants. 120
Rof. Were it not better,
Becaufe that I am more then common tall,
That I did fuite me all points like a man,
A gallant curtelax vpon my thigh,
A bore-fpeare in my hand, and in my heart 125
Lye there what hidden womans feare there will,
Weele haue a fwafhing and a marfhall outfide.
As manie other mannifh cowards haue.
That doe outface it with their femblances.
CeL What fliall I call thee when thou art a man ? 130
121. Were t^] Wert^t Pope + . 124. curtelax] curtelass Cap.
123. me] Om. F^. 127. IVeele] I'll Han. Johns.
122. Because that] See I, iii, 44.
123. suite] Dyce: That is, clothe, dress; as in Lear, IV, vii, 6, <Be better
suited,' f. e, <put on better clothes.'
123. all points] See line 74 supra.
124. curtelax] Dyce: A cutlass. Wright: The termination is an instance of a
frequent corruption by which a word is altered so as to correspond to a supposed ety-
molog}'. Other forms of the word, due to the same tendency, are < cutlace ' and < cut-
lash.' A curtleaxe was not an axe at all, but a short sword. The word is formed
from a diminutive of the Latin culullm. Florio (//. Dict^ has ' Q>ltellaccio, a cutle-
axe, a hanger.' Cotgrave gives * Coutelas : m. A Cut elas, Courtelas, or short sword,
for a man at annes.' Compare Fairfax, Tasso, ix, 82 : ' His curtlax by his thigh,
short, hooked, fine.' And Hen. V: IV, ii, 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 hewen down by a souldier with his curtlaxe.' Spenser, supposing the
weapon to be a short axe, wrote (Faery Queene^ IV, ii, 42) : < But speare and curtaxe
both vsd Priamond in field.' In DuBartas, Historie of Judith (trans. Hudson), book
Ii, p. 16 (ed. 161 1 ), the word appears in the form ' curtlasse ' : 'And with a trembling
hand the curtlasse drewe.'
125. bore-speare] Halliwell gives a wood-cut both of a curtleaxe and of a boar-
tpear. The latter, says Fairiiolt, has a blade very broad and strong, with a
aoss-bar inserted immediately below it, to prevent its passing directly through the
animal. ' Unlike the ordinary spear, it appears to have been seldom thrown, but the
rush made by the animal on the hunter was met by a direct opposition of the weapon
on his part.'
127. swashing] Steevens: That is, an appearance of noisy, bullying valour.
[See Rom. ^ Jul. I, i, 55, with its superfluity of notes in this edition. The word is
still current here in America. The line is thus scanned by Abbott, $ 455, with an
accent on out in the last word : < We'll hive | a swish | ing ind | a mir | tial oiit-
side. — ^Ed.]
129. it] For other instances of this indefinite use of ' it,' which is as universal now
SB ever, see Abbott, % 226.
6o AS YOCr LIKE IT [act i, sc. iii.
Rof. He haue no worfe a name then loues owne Page,
And therefore looke you call me Ganitned.
But what will you by callM?
Cel, Something that hath a reference to my flate :
No longer Celia, but Aliena. 135
Rof. But Cofen, what if we aflaid to fteale
The clownifli Foole out of your Fathers Court :
Would he not be a comfort to our trauaile ?
CeL Heele goe along ore the wide world with me,
Leaue me alone to woe him ; Let's away 140
133. by] Fj. 140. woe] wooe Ft woo Rowe.
134. kath] bath F^.
131. Page] Fletcher (p. 202) : Mrs Jameson, amongst others, misled probably
by one of those hasty verbal mistakes which have been so often made by the exposi-
tors of Shakespeare, seems to have been betrayed by Rosalind's allusion immediately
after to *Jov^s own page,' into talking of * her pagis vest,' * her page's costmne,' &c.
J^oyif pages of the banished Duke do appear in the course of the forest scenes, two
of whom sing, at Touchstone's request, the lively song introduced in the Fifth Act ;
but the accoutrements of a page would ill have supplied that * martial ' exterior for
the sake of whose protection alone Rosalind has any inclination to put herself in
masquerade. She is to wear manly, not boyish, habiliments. The curtleaxe and
boar-spear are not the page's nor the shepherd's array, but the forester's, such as was
worn by her fieUher and his exiled followers. [But see Lodge's Novel, where Rosa-
lynde says, * I would very well become the person and apparel of a page,' &c., and
again, * if any knave offer wrong, your page will shew him the poynt of his weapon.'
See further, Fletcher's note, III, v, 114. — ^Ed.]
132. Ganimed] Neil : This name, which is that used by Lodge, would not be
the less acceptable to Shakespeare that it had acquired a firesh poetic interest in The
Affectionate Shepherd, containing the Complaint of Daphnis for the love of Gany-
mede, by Richard Bamefield, 1594.
X35. Aliena] Wright: With the accent on the second syllable. Rolfe: But
surely ' Celia ' is a trisyllable, as in line 70 above, and 'Aliena ' accented on the
penult, as it ought to be. [This is the only line in the play where the rhythm can be
oar guide. Our choice, therefore, lies, I think, only between < No Idng | er C^ | ya,
bdt I All I ena,' and < No long | er Ce | liil, | but Al | i^na.' With Rolfe, I much pre-
fer the latter, because, as he says, Celia is elsewhere unquestionably a trisyllable,
namely, in 'Ay, Ce | lid, | we st&y'd | her f6r | your s^e.' Moreover, Shakespeare's
' small Latin ' was quite large enough for him to remember the quantity of dlUma.
—Ed.]
140. Hudson (p. 16) : It is curious to observe how the Poet takes care to let us
know from, the first that beneath the affectations of Touchstone's calling some precious
sentiments have been kept alive ; that far within the Fool there is laid up a secret reserve
of the man, ready to leap forth and combine with better influences as soon as the
incrustations of art are thawed and broken up. This is partly done [here in this
present passage], where we learn that some remnants, at least, of a manly heart in
ACTii,sc. i.] AS YOU LIKE IT 6i
And get our lewels and our wealth together, 141
Deuife the fitteft time, and fafeft way
To hide vs from purfuite that will be made
After my flight : now goe in we content
To libertie,and not to banifliment. Exeunt 145
A6lus Secundus. Sco^na Prima.
Enter Duke Senior : Amy ens, and two or three Lords
like Forrejiers.
Duk. Sen.tiov/ my Coe-mates,and brothers in exile :
Hath not old cuftome made this life more fweete
Then that of painted pompe ? Are not thefe woods 5
More free from perill then the enuious Court ?
Heere feele we not the penaltie of Adam , 7
144. in we] Cald. Knt, Neil, we in 3. brothers] brother Ff.
Ff ct cet y. not] but Thcob. + , Cap. Steev. MaL
content] cantent F^. Coll. u, iii, Sing. Wh. Dyce, Cam. Clke^
Actus] Actu F,. Wr. Mob.
I. Lords] Lorde F^.
him have asserted their force in the shape of unselfish regards, strong as life, for what
ever is purest and loveliest in the characters about him. He would rather starve or
freeze, with Celia near him, than feed high and lie warm where his eye cannot find
her. If, with this fact in view, our honest esteem does not go out towards him, then
we, I think, are fools in a worse sense than he is. [And the reflection of this devo-
tion illuminates Celia, too, who kindled it. — Ed.]
144. in we] Malone : I am not sure that the transposition tve in is necessary.
Our author might have used < content' as an adjective. Neil follows the Folio,
which means, he says. Now let us go in, contentedly. * Perhaps,' he adds, ' the
reading, " Now go in ; we consent," would give the author's meaning.'
I. Duke Senior] In a note on I, ii, 78, Capell says that * throughout all this play
Shakespeare calls his two Dukes, J?uhe Senior and Duke Junior^ In a MS note of
Malone's, given by Halliwell, Malone says : < This is not so. The younger brother is
never once called Duke Junior ^ throughout the play, in any one entry. He is always
called simply Duke, The other is called Duke Senior.'
3. exile] Walker ( Vers. 291) gives a list of many words, chiefly disyllabic, which
have < an accent— though, of course, an unequal one— on both syllables, the principal
one being shifted ad libitum frx>m the one syllable to the other.' Thus, in Rom. 6^
Jul. Ill, iii, 13 : ' For exile hath more terror in his look,' yet within eight lines the
accent is shifted to the second syllable (as it is here in As You Like It):* And world's
exile is death ; then banished.' See also Abbott, § 490.
7. Theobald: What was the penalty of Adam, hinted at by our Poet? The
being sensible of the difference of the seasons. The Duke says, the cold and effects
62 AS YOU LIKE IT [act ii. sc. i.
[Heere feele we not the penaltie of Adam]
of the winter feelingly persuade him what he is. How does he not then feel the
penalty? Doubtless the text must be restored as I have corrected it [see Text.
Notes], and 'tis obvious in the course of these notes how often *■ not ' and but^ by mis-
take, have changed place in our author's former editions. Malone : As *■ not ' has
here taken the place of buty so, in Cor. II, iii, 72, < but ' is printed instead of not :
Cor, * Ay, but mine own desire. First Cit, How ! not your own desire.' [This is
perhaps scarcely apposite. According to the excellent emendation of the Cam. Edd.
not had simply fallen out of the line, and had not been changed into ' but ' : 'Ay, but
not mine own desire.' — Ed.] Boswell : Surely the old reading is right. Here we
feel notf do mft suffer, from the penalty of Adam, the season's difference ; for when
the winter's wind blows upon my body, I smile, and say — Whiter (p. 13) : Theo-
bald supposes that the penalty of Adam here expressed is < the being sensible of the
difference of the seasons.' I do not think that this is the allusion intended. I read
the whole passage thus :
' Here feel we not the penalty of Adam :
The seasons' difference, as the icy fang
And churlish chiding of the winter's wind—
(Which when it bites and blows upon my body
Even till I shrink with cold, I smile and say
This is no flattery ;) — these are counsellors,
That feelingly persuade me what I am.'
The penalty of Adam, here alluded to, may be gathered from the following passages
in Scripture : < Cursed is the ground for thy sake ; in sorrow shalt thou eat of it all
the days of thy life,' Gen, iii, 17 ; 'In the sweat of thy face shalt thou eat bread,' ver.
19 ; < Therefore the Lord God sent him forth from the garden of Eden, to till the
ground from whence he was taken,' ver. 23. We here plainly see that the only curse
or penalty imposed on Adam which can have any reference to the condition of a
country life is the toil of cidtivating the ground, and acquiring by that labour the
means of sustenance. The Duke therefore justly consoles himself and his compan-
ions with the reflection that their banishment into those woods from the paradise of a
court (if we may be permitted to continue the allusion) was not attended with the
penalty pronounced on Adam, — a life of pain and of labour; but that, on the con-
trary, it ought to be considered as a philosophical retirement of ease and independence.
With respect to the minute inconvenience which they might suffer from the difference
of the seasons— the biting frost and the winter's wind — these (he observes) should not
be regarded in any other view than as sharp but salutary counsellors, which made
themy^^/ only for the promotion of their good and the improvement of their virtue.
Caldecott : Wherever the course of thought admits it, Shakespeare is accustomed
to continue the form of speaking which he first falls upon ; and the sense of this
passage, in which he repeats the word ' not,' appears to be, < The penalty here, prop-
erly speaking, is not, or scarce is, physically felt, because the suffering it occasions,
sharp as it otherwise might be called, turns so much to account in a moral sense.'
The construction of ' which, when it blows,' is < at which, or which blowing.' And
or for, instead of which, would have given a plain and clear sense ; but the same
forms and cold terms of reasoning would have clogged the spirited and warm flow
of the sentiment ; and the recurrence of and at the beginning of the line would have
ACT II. sc. L] AS YOU LIKE IT 63
[Heere feele we not the penaltie of Adam]
offended the ear. Still, the word ' feelingly,' used at the end of this passage in an
affirmative sense, after < feel ' had been brought forward, coupled with a negative, cer-
tainly makes a confusion, if it be not said to favour Theobald's substitution. Har-
ness : Theobald's alteration is not only unnecessary, but palpably wrong. The Duke's
sentiment is as follows : Here we do not feel the penalty of Adam, the difference of
the seasons, because the slight physical suffering that it occasions only raises a smile,
and suggests a moral reflection. Knight follows Whiter (except that afler < Adam '
he puts a full stop instead of a colon), and urges in support that : Milton represents
the repentant Adam as thus interpreting the penalty: <On me the curse aslope
Glanced on the ground ; with labour I must earn My bread; what harm ? Idleness
had been worse.' The beautiful passage in Cowper's Task, describing the Thresher,
will also occur to the reader : * See him sweating o'er his bread Before he eats it
'Tis the primal curse. But soften'd into mercy ; made the pledge Of cheerful days,
and nights without a groan.' < The seasons' difference,' it must be remembered, was
ordained before the fall, and was in no respect a penalty. We may therefore reject
the received interpretation. But how could the Duke say, receiving the passage in
the sense we have suggested, * Here feel we mft the penalty of Adam ' ? In the First
Act, Charles the Wrestler, describing the Duke and his co-mates, says, they * fleet the
time carelessly as they did in the golden worW One of the characteristics of the
golden world is thus described by Daniel : < Oh ! happy golden age ! Not for that
rivers ran With streams of milk and honey dropp'd from trees ; Not that the earth
did gage Unto the husbandman Her voluntary fruits, free without fees.' The song
of Amiens, in the Fifth Scene of this Act, conveys, we think, the same allusion :
' Who doth ambition shun. And loves to live i' the sun. Seeking the food he eats. And
pleas' d with what he gets,* The exiled courtiers led a life without toil— a life in
which they were contented with a little— cmd they were thus exempt from the * pen-
alty of Adam.' We close, therefore, the sentence at <Adam.' * The seasons' differ-
ence ' is now the antecedent of ' these are counsellors ' ; the freedom of construction
common to Shakespeare and the poets of his time fully warranting this acceptation of
the reading. In this way, the Duke says, ' The differences of the seasons are coun-
sellors that teach me what I am ; — as, for example, the winter's wind — ^which, when
it blows upon my body, I smile, and say, This is no flattery.' We may add that, imme-
diately following the lines we have quoted from the Paradise Lost, Adam alludes to
' the seasons' difference,' but in no respect as part of the curse : < With labour I must
earn My bread ; what harm ? Idleness had been worse. My labour will sustain me ;
and lest cold Or heat should injure us, his timely care Hath unbesought provided, and
his hands Cloth'd us unworthy, pitying while He judg'd. How much more, if we
pray Him, will his ear Be open, and his heart to pity incline, And teach us further by
what means to shun Th' inclement seasons, rain, ice, hail, and snow.' [Although
Collier in both of his editions interpreted the < penalty of Adam ' as the < seasons'
difference,' yet at one time he followed the Folio, and at another Theobald ; in the
latter case he did so, despite the fact that his (MS) retained the old reading, merely
changing * as the Icie phang * {o*or the,' &c.] Hunter (i, 346) : Read either ' not '
or but, and still the passage is perplexed. Taking the text as we have it, I venture
to suggest that the first part of this passage should be read as an interrogative appeal
to the companions of his banishment : < Here feel we not '— < Do any of you say that
we do not feel the severity of the wintry blast ?' But * when it bites and blows upon
my body I, for my part, smile, and say This is no flattery,' &c. I do not say that this
AS YOU LIKE IT [act ii, sc. i.
[Heere feele we not the penaltie of Adam]
takes up every word, but I think it approaches nearer to the poet's intention than any-
thing that has been suggested. That the < penahy of Adam ' is not the severities of
winter, but the obligation to labour, or the being sensible to the difference between
heat and cold, leaves the passage as perplexed as ever. In the idea of Paradise before
the Fall has always been included that there was perpetual summer or at least
perpetual genial seasons — no winter's cold. Anon. [ap. Halliwell] : It appears
to me impossible to let < not ' stand in the passage at all without leading to utter
inconsequence; whereas, if we substitute the word yet^ sense and harmony are
restored to the whole of the Duke's speech at once, without the necessity of our
resorting to ingenious or elaborate speculation and research. The proposed reading
will nullify the argument founded on the views of the < seasons' difference ' in the
time of our first father; the correctness of which, by the way, appears to me to be
rather invalidated than otherwise by anjrthing I can find in the opening chapters of
Genesis. White (ed. i) : < Not ' is clearly a corruption, because there was no pen-
alty of Adam from which the speaker and his companions were exempt Whiter
suggested that the penalty of Adam was that he should get his bread by the sweat
of his brow. So did the banished Duke ; Adam, after his curse, might as well have
lived by hunting as the Duke. Plainly, the penalty of Adam is the seasons' difference
—eternal Spring being inseparably connected with the idea of Eden — and the com-
mon misprint of ' not ' for but took place. For what is the culminating thought of
the whole passage ? — * these are the counsellors That feelingly persuade me what lam,*
The Duke finds the icy fang and the churlish chiding of the Winter's wind more
truthful counsellors than those which buzzed about his painted pomp. They make
him feel that he is a man. But how would they do this if he were exempt fh)m any
part of that heritage of all mankind — the penalty of Adam ? It is to be observed,
however, that the passage, although its meaning is clear, is written in a very free style,
and will defy parsing criticisuL Staunton : Neither < not ' nor but is satisfactory,
nor do we think that < not ' is the only corruption in the speech ; the word < as ' is
equally open to suspicion. The passage, it is presumable, may have run thus in the
original manuscript : ' Here feel we yet the penalty of Adam, The seasons' difference :
At the icy fang,' &c. The Duke is contrasting the dangers and sophistications of a
court life with the safety and primitive simplicity of their sylvan state ; and glories in
the privilege of undergoing Adam's penalty, — the seasons' difference. Cowden-
Clarke : The speech seems to us to lose consecution if < not ' be retained ; whereas,
*but the penalty of Adam* (taking 'penalty' to mean the 'seasons' difference'),
accords with that which follows, and also with other passages in the play, where the
sharp yet salutary effects of open-air life are adverted to. Keightley {J^xp, 157) :
It does not appear that any writer anterior to Milton made the Ovidian change of
season a part of Adam's penalty. The text may therefore be right, and a line, some-
thing like this, have been lost, * Here is no toil ; we have only to endure.' Ingleby
[Sh, the Matif &c. i, 139) cites a letter to him from C. J. Munro, in which the latter
suggests the making of the sentence interrogative, wherein he is anticipated by Hun-
ter. Ingleby himself says that * however we may regulate and interpret the passage,
there is certainly a hitch, but it is very questionable whether the hitch be sufficiently
great to justify verbal emendation.' * Probably sufficient justification might be found
for new in the place of * not ' ; now referring to the present time of winter, after the
** penaltie " would be no longer felt ?' Wright [adopting Theobald's bu/] : The Duke
contrasts the happiness and security of their forest life with the perils of the envious
ACT n, sc, I] AS YOU LIKE IT 65
The feafons difference, as the Icie phange 8
And churlifli chiding of the winters winde,
Which when it bites and blowes vpon my body 10
Euen till I (hrinke with cold, I fmile, and fay
This is no flattery : thefe are counfellors
That feelingly perfwade me what I am :
Sweet are the vfes of aduerfitie 14
10. bUes\ baits F^F^.
court. Their only suffering was that which they shared with all the descendants of
Adam, the seasons' difference, for in the golden age of Paradise there was, as Bacon
phrases it, < a spring all the year long.' .... If the blank left by Boswell were filled
up, it would just contradict what he had said before — ^ These are counsellors That
feelingly persuade me what I am.' The Duke's senses therefore did make him con
scious that he was a man, though what he felt was only < the seasons' difference.' Mil
ton has the same idea of change of seasons after the Fall. See Par, Lost, x, 678, 9 :
* Else had the spring Perpetual smiled on earth with vemant flowers.' [Whatever be
the < penalty of Adam,' be it < labour ' or < the seasons' difference,' all critics seem to
agree that the drift of the speech is to show that this present life takes from that penalty
its bitterness. The penalty is here, but it is not really felt ; we can even smile at it
In the same way, adversity is grievous, but here we can find that its uses are even
sweet We know that < in the state of innocency Adam fell,' and was punished ; if
that punishment be removed, there is a return to the state of innocency ; and it is that
state of innocency which reigns here in Arden ; and when the icy fang of the winter's
wind bites till we shrink with cold, we know that there is no flattery here ; our feelings,
our outward senses, reveal the truth to us. < Feelingly ' is not used in this connection
in the same sense as < Here feele we ' ; the former goes no deeper than the skin, the
latter touches the heart Thus interpreting the passage, as, I suppose, every one else
interprets it, I think we can afford to disregard any specific definition, and hold, as
< the penaltie of Adam,' everything which tends to make this life unlike what it really
is, be it the seasons' difference, labour, or the peril of the envious coiut.
See Capell's remark (line 20, post) on the change in the Duke's feelings when the
chance came to him in the last Act. — Ed.]
8. as] Here used in the sense of lo wil, namely. See < How all the other passions
fleet to air. As doubtful thoughts,' &c., Afer. of Ven. Ill, ii, 115 ; also Walker {Crit,
i, 127), or Abbott, § 113. See also post, II, vii, 151, where Walker with probability
suggested that 'At ' should be As. Lettsom (ap. Dyce, ed. iii) refers to IV, iii, 149
as an example of the plural, followed by a single instance : < Teares our recoutttments
had most kindly bath'd, As how I came into that desert place;' but Capell and
Malone conjectured that a line or more had been there lost, in which other circum-
stances were recounted. — See notes ad loc. — Ed.
10. Which] For other instances of ' which ' used adverbially for as to which, see
Abbott, § 272, or Lear, V, iii, 149.
10-12. Which . . . flattery] As a matter of punctuation note that Whiter, fol-
lowed by White (ed. i), enclosed these lines in a parenthesis.
14. the vses] Hartley Coleridge (ii, 142) : There is a beautiful propriety in
the word ' uses ' here, which I do not remember to have seen remarked. It is the
5
66 AS YOU LIKE IT [act ii, sc- L
Which like the toad, ougly and venemous, 15
Weares yet a precious lewell in his head :
use, not the mere effect of adversity, wherein resides the sweet Whether adversity
shall prove a stumbling-block, a discipline, or a blessing, depends altogether on the
use made of it There is no natural necessary operation of adversity to strengthen,
to purify, or to humanise. Men may be made better by afiliction, but they cannot be
made good. From an evil heart, the harder it is wrung, the blacker the drops that
issue. If perfumes are the sweeter for crushing, so are stenches more pestiferous.
Even the average quality of mankind are much oftener the worse than the Jt>etter for
continued suffering. All, indeed, might be better for chastening ; but that any indi-
vidual will be better no one has a right to presume, for we know not what use he will
make of the dispensation.
14. ' It is good for me that I have been afHicted.' — Psalms^ cxix, 71.
15. venemous] That the toad was venomous has been a popular belief from the
days of Pliny at least In Holland's translation (Bk. 25, p. 231, a) we read : ' Frogs
(such especially as keep in bushes and hedges, and be called in Latine Rubet^e, 1.
toads) are not without their venom : I my self haue seen these vaunting Montebanks
calling themselues Fisylli .... in a brauery .... to eat those toads baked red hot
between 2 platters ; but what became of them ? they caught their bane by it, and died
more suddenly than if they had bin stung by the Aspis.'
16. lewell] Steevens : In a book called A Green Forest or a Natural ffistory^
&c., by John Maplett, X567, is the following account of this imaginary gem : < In this
stone i^ apparently seene verie often the verie forme of a tode, with despotted and
coloured feete, but those uglye and defusedly. It is available against envenoming.'
Pliny, in the 32d book of his Natural Hist. [p. 434, 1. trans. Holland], ascribes many
powerful qualities to a bone found in the right side of a toad^ but no mention of any
gem in its head. This deficiency is however abimdantly supplied by Edward Fenton,
in his Secrete Wonders of Nature ^ 1 569, who says : ' That there is founde in the heades
of old and great toades, a stone which they call Borax or Stelon : it is most commonly
fotmd in the head of a hee toad^ of power to repulse poysons, and that it is a most
sovereign medicine for the stone.' Thomas Lupton, in his First Booke of Notable
ThingSy bears repeated testimony to the virtues of the * Tode-stone, called Crapaudina*
In his Seventh Book he instructs us how to procure it ; and afterwards tells us : < You
shall knowe whether the Tode -stone be the ryght and perfect stone or not. Holde
the stone before a Tode, so that he may see it ; and if it be a ryght and true stone,
the Tode will leape towarde it, and make as though he would snatch it. He envieth
so much that man should have that stone.' [It would be easy to fill page after page
with allusions to this loadstone and with descriptions of it. Steevens refers to a
passage in Beau, and Fl/s Monsieur Thomas, III, i, p. 356, ed. Dyce, and he might
have added another in The Woman* s Prize , V, i, p. 199. Nares gives a reference to
Jonson's Volponty II, iii, p. 223, ed. Gifford, and another to Lyly's Euphues, p. 53,
ed. Arber : * The foule Toade hath a faire stone in his head ; the fine golde is found
in filthy earth ; the sweet kemell lyeth in the hard shell ; vertue is harboured in the
heart of him that most men esteeme mishapen.' This sentence, by the way, was
quoted by Francis Meres, in his Wits Commonwealth, Part 2, p. 161, but without
naming the author— a duty which he performed in many instances, but which the pur-
pose of his book did not render obligatory in all ; the fact would not be worth refer-
ring to here, were it not that Halliwell failed to notice, when he cited both Meres
ACT II. sc L] AS YOU LIKE IT &7
And this our life exempt from publike haunt, 17
Findes tongues in trees, bookes in the running brookes,
Sermons in ftones,and good in euery thing.
Amien. I would not change it, happy is your Grace 20
20. /...i/] Given to Duke, Wh. Dyce, Cam. Ktly, Huds. Rife.
and Lylj, that the two were in reality only one, and other editors, who have fol-
lowed Halliwell without verifying, have fallen into the same error. As for descrip-
tions of it, which ]>roperly belong to the archseolc^ of gems, and in no wise illustrate
Shakespeare's words here, where the simple existence of the jewel is alluded to, I
need merely refer the student to Douce, i, 294, or to the four folio pages of notes in
Halliweirs edition, or to King's Natural Hist, of Gems, cited by Wright, where the
origin of the belief in the existence of such a stone is ascribed to Pliny's simple
description of a stone as < of the colour of a frog.' Douce suggests that it is not
certain in this present passage that there is an allusion to a stone, * for Gesner informs
us that in his time, and in England more particularly, the common people made
superstitious uses of a real jewel that always could be found in a toad's head, viz. : its
forehead bone* Lastly, Caldecott says : * It is, perhaps, rather a figure of speech,
than a fact in natural history ; and it is its eye, proverbially fine, that is the ■ precious
jewel in his head.' There can be no doubt, however, that a belief in toadstoncs and
their efficacy existed, and it seems equally sure that Shakespeare here alludes to that
belief, which, like everything that he touched, he * gilds with heavenly alchemy.' — Ed.]
17. haunt] Allen (MS) : A verbal noun, equivalent to haunting; exempt from
the haunting of the public.
18. Steevens : So in Sidney's Arcadia, bk. 1 [p. 82, ed. 1598] : * Thus both trees
and each thing else, be the bookes of a fancy.' [If this quotation from Sidney
had not been repeated by several editors, it would not be repeated here. There
is in it nothing particularly parallel to this speech of the Duke's. ' When,' says
Dorus, < I meete these trees in the earth's faire liuery clothdd. Ease do I feel
For that I finde in them parte of my state represented,' and, thereupon, with that
prolixity which at times outwearies the most enthusiastic lover of Elizabethan pastoral
poetry, he enumerates almost every tree known to the temperate, or even tropical, zone,
in each of which he discovers what may symbolise his passion. Shakespeare's Duke
accepts the lessons which the trees teach him ; Sidney's Dorus sets the lessons that are
to be taught to the trees. It is perhaps worth while to mention, and merely to men-
tion with the lightest touch, that emendation which suggests an exchange of places
between 'bookes' and 'stones,' an emendation which, gray though it be with dry
antiquity and palpable to the dullest sense, is always propounded anew as the highest
stretch of wit, and accompanied with the demand that it be greeted with acclamation.
—Ed.]
20. Amien] Roffe (A Musical Triad from Shakespeare, &c. 1 872, p. 21) .
Amiens is certainly to be considered as first and chief of the Musical characters in
Shakespeare, and it must assuredly be admitted, that if we require an idea in every
way pleasing and harmonious of a musical man, (as an accomplished amateur), that
idea has been wrought out for us in Amiens, who, indeed, shows as favorably even in
the lew words which he is called upon to speak as when he sings his charming songs.
It is Amiens who makes reply to the Duke, and that reply is beautiful, worthy of an
amiable man of sense, and, indeed of a true gentleman Amiens is willing, both
68 AS YOU LIKE IT [act ii, sc. i.
[Amien.]
for himself and for all his friends, to make the best of their lot, nay, even fully to
accept it, and how felicitously is the idea expressed, oi * translating * the stubbornness
of fortune into a quieter and a sweeter style. In that translation lies the one thing,
which, if we c&uld only do, might, at the very least, make us all, if not perfectly
happy ^ much Uss unhappy than we are. Such a man as Amiens is one who spreads
around him an atmosphere of quiet and content, and we cannot but feel that he is
beautifully placed in such a Pastoral as Shakespeare has here given us. The very
earliest words then, spoken by Amiens, at once seem to give us the true intimation of
his character and suggest to our minds the most pleasing thoughts concerning him.
An evidently congenial spirit is the First Lord, and we find them taking their walk
t(^ether in the Forest In Music, we shall find that Amiens is accomplished in
a degree and manner befitting his mental state ; of his friend, the First Lord, we
have no evidence that he is accomplished in Music, but it is clear that he is to be
thought of as a most true and feeling observer^ with all the power of painting his
observations in words. In that power he may be even conceived of as superior to
Amiens, and so discriminated from him ; for which reason doubtless it is, that to this
First Lord, Shakespeare assigns those interesting descriptions of what Amiens and
his friend beheld together, such as that of the 'poor, sequestered stag.' .... At the
banquet [II, vii] Amiens only sings, and the little address of the Duke to him still
paints Amiens to us as the man who both can^ and will^ lay himself out to promote
the pleasure of others After the banquet Amiens is only seen with the Duke,
and that in the last Act, and no more is set down for him either to sing or to speak.
.... Possibly, Shakespeare might have deemed that dramatic considerations as to
Amiens himself would show, that after the memorable banquet-scene, and the beau-
tiful ' Blow, blow, thou Winter Wind,' it was not so well to let him appear again,
musically ^ in the comparatively inferior position of one who is simply required to lead
off the jovial Hunting Song and Chorus.
20. I ... it] Upton (p. 260) : The Duke is speaking of the happiness of his
retirement How much more in character is it for the Duke to say, < I would not
change it,' than for Amiens ! Capell (p. 58, a) : But the reverse of this [Upton's
remark] is true : Amiens, as a courtier, might make the declaration, being only a
mode of assenting to the truth of what his master had spoken ; but the Duke could
not, without impeachment of dignity, of being wanting to himself and his subjects ;
accordingly, when occasion of * change * presents itself at the end of the play, we see
it embrac'd with great readiness : Add to this, that the following reflection of Amiens,
* Happy is your grace,' &c. would come in too abruptly, were the other words taken
away. White (ed. i) : They are not only * more in character for the Duke,' but the
necessary complement of his thought. Dyce : It seems strange that no one before
Upton should have seen that these words must belong to the Duke, and still stranger
that, after the error was once pointed out, any editor should persist in retaining it.
Walker (Crit. ii, 187) made, independently, the same suggestion as Upton, and
adds ; < Let any one read the passage as thus distributed, and he will perceive the
propriety of the change.* [The phrase may be proper enough for the Duke, but is it
improper for Amiens ? Is there any reason why one of the circle of courtiers should
not at once announce his sympathy with the Duke ? The Duke has asked a question.
Is no one to answer ? Surely some response is needed of a more cordial and more
personal character than a mere non-committal and courtier-like exclamation, ' Happy
is your grace,' &c. Besides, some weight attaches to Capell's remark that the Duke
ACT II, sc. L] AS YOU LIKE IT 69
That can tranflate the ftubbomneffe of fortune 21
Into fo quiet and fo fweet a ftile.
Du. Sen. Come, (hall we goe and kill vs venifon /
And yet it irkes me the poore dapled fooles
Being natiue Burgers of this defert City, 25
Should intheir owne confines with forked heads
25. Burgers] Burghes F^,
shows himself ready enough to ' change' his life as soon as the chance is offered to him
at the close of the play, and Shakespeare, who provides for everything, would not thus
have precluded the Duke from resuming his throne by making him here assert that
he would not exchange ' these woods ' for the ' envious court/ Moreover, although
the printing of this line is the compositor's and not Shakespeare's, it is worth noting
that there is merely a comma after the phrase, not a full stop. This faint indication
of what the MS might possibly have been before the compositor's eyes, we may esti-
mate for what it is worth. On the whole, as far as the Folio's text is concerned, ' I
would not change it.' — Ed.]
21. translate] Moberly : This is one of the interesting passages in which a great
writer reflects upon his own expressions with pleasure or surprise. Dialogue gives
great opportunity for such reflections ; as in Plato, Rep, 361 : ^apdi ^ f^'i/u, tj ^IXe
rXavKuv, 6c kppufiivoCt ^anep avdpiavraf rdv reXeUoc &StKov imtadaipeic I and Hiad^
ix, 431. A most striking instance is 2 Cor. vi, 11, where St Paul, with a kind of sur-
prise at the fervour of his own appeal, suddenly exclaims, rb ardfia ifiCiv dvi(^e irpd{
vfAOCf Koplvdtot, 1^ Kapdia ^fujv irenXdrwrai,
24. irkes] Wright : The Eton Latin Grammar has made us familiar with < Tsedet,
it irketh ' ; and irksome is still used in the sense of wearisome. Palsgrave (Lesc/ar'
cissement de la langtie Francoyse) gives, * It yrketh me, I waxe wery, or displeasaunt
of a thyng. // me ennuyV [See also Prompt, Parv. p. 266 ; Stratmann, p. 338 ; or
Skeat, s. v.]
24. dapled fooles] Dyce {Strictures^ p. 68) : Compare, *• Then he stroking once
or twice his prettie goate .... said thus, Lie downe, pidefoole^ by me,' &c. — Shelton's
Don Quixote, Part First, p. 556, ed. 1612.
25. Burgers] Steevens : In Sidney's Arcadia the deer are called < the wild bur-
gesses of the forest.' Again in the 1 8th Song [line 65] of Drayton's Poly-olHon :
* Where, fearless of the hunt, the hart securely stood. And everywhere walk'd free, a
burgess of the wood.' Malone : A kindred expression is found in Lodge's Rosa-
lynde : < About her wondring stood The citizens of wood.' Compare line 59, post,
[It is probable that Steevens trusted to his memory alone in citing the phrase from
Sidney's Arcadia, The phrase, just as he has given it, cannot, I think, be there
found, and the nearest approach to it does not refer to a deer, but to a shepherd. In
Book ii, p. 220, ed. 1598, two young shepherds sing ' ecl(^ue-wise ' their rival com-
plaints ; and Strephon says : < I that was once free burgesse of the forrests. Where
shade from Sunne, and sports I sought at evening,' &c. The next sestine is sung by
Klaius, and begins : ' I that was once delighted every morning, Hunting the wild
inhabiters of forrests,' &c. These two passages Steevens may have confounded, and
inadvertently omitted to give the exact reference, but unfortunately Steevens cannot
be always implicitly trusted. — Ed.]
26. forked heads] Steevens, Collier, and Haluwell define this as ' barbed
70 AS YOU LIKE IT [act ii, sc. i.
Haue their round hanches goard 27
I . Lord, Indeed my Lord
The melancholy laques grieues at that, 29
arrows/ for which they have some authority, though they do not cite it, in Cotgrave,
where it stands, * Fer de fleiche i oreilles. A forked^ or barbed arrow-head^ But
Wright {Lear^ I, i, 143) cites Ascham, whose authority is weightier than Cotgrave's,
as follows : ' Two maner of arrowe heades sayeth Pollux, was vsed in olde tyme. The
one he calleth d/iuvof , descrybynge it thus, hauyng two poyntes or barbes, lookyng
backewarde to the stele and the fethers, which surely we call in Englishe a brode
arrowe head or a swalowe tayle. The other he calleth yh^xi-^t hauing .ii. poyntes
stretchyng forwarde, and this Englysh men do call a forke-head ' — Toxophilus^ p.
135, ed. Arber ; again on p. 136 : * Commodus the Emperoure vsed 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.' Singer defined the < forked heads ' as the antlers^ oblivious apparently
of the physiological difficulty which stags would encoimter in attempting to gore their
own round haunches with their horns. — Ed.
28, &c. In J. P. Kemble*s Acting Copy, 1815, this speech is given to Jaques, begin-
ning thus : * Indeed, my lord, IWe often griev'd at that. And, in that kind, think you
do more usurp,' &c. Whether or not Kemble was the first to make this change I do
not know. Of course the language throughout the rest of the scene is adapted to the
change, and lines 68-70 are omitted. It is almost needless to remark that this sense-
less change obliterates one of Shakespeare's artistic touches, whereby an important
character is described and the key-note struck before he himself appears. — Ed.
29. laques] Walker ( Vers. 3) : In French speeches or phrases the final e or «,
now mute, is usually sounded. In Jaques^ ParoUes^ Marseilles the same rule holds
without exception. [According to Mrs Cowden-Clarke's Concordance ^ Jaques occurs
•ixteen times in these plays. Of these sixteen, ten instances are in prose or close a
line, and are therefore useless as far as the pronunciation is concerned. Of the
remaining six, one occurs in Lovis Lab. L. II, i, 42 ; one is in the present line ; two
are in All^s Well (III, iv, 4 and III, v, 98) ; and two are in Hen. V (III, v, 43 and
IV, viii, 98). This last line Walker himself considers an exception, despite the fact
that he had just said that the rule was without exception ; it is * Jaques of | Chatil |
Ion, ad I miral | of France.' This reduces the six instances of uncertain pronunciation
to five. No less do I think the first instance in Hen. K is an exception, and that it
must be thus scanned : < Jaques Cha | tillon, | Rambu | res, Vau | demont.' This
reduces the five to four. The two instances in AlVs Well both refer to the church of
St Jaques, and I believe them to be in the genitive, like St Peter's, and that the s
should be heard after the monosyllable Jakes^ thus : < I am | Saint Jaques' | es^ pil |
grim thi | ther gone,* and also : < There's four | or five | to great | Saint Jaques' | es
bound.' This reduces the four to two, and in both of them the name appears unde-
niably a dissyllable. Thus : < Of Ja | ques Faul | conbridge | solem | nisdd,' Lovers
Lai. L. II, i, 42, and < The mel | ancho | ly Ja | ques grieves | at that.' Nevertheless
the conviction expressed in the note on line 5 oi Dramatis Persona remains unshaken,
that the name was in general pronounced as a monosyllable, with, possibly, the faint-
est suggestion of a second syllable, such as we have in the word aches. Harington's
anecdote and French's testimony are decisive to my mind that the name in Shake-
speare's own day was a monosyllable. In our day it is to be hoped that, in this play
ACT II, sc. i.] AS YOU LIKE IT Ji
And in that kinde fweares you doe more vfuq)e 30
Then doth your brother that hath banifh'd you :
To day my Lord oi Amiens j^xid my felfe,
Did fleale behinde him as he lay along
Vnder an oake, whofe anticke roote peepes out
Vpon the brooke that brawles along this wood, 35
To the which place a poore fequeftred Stag
That from the Hunters aime had tane a hurt,
Did come to languifh ; and indeed my Lord
The wretched annimall heauM forth fuch groanes
That their difcharge did ftretch his leatheme coat 40
Almoft to burfting, and the big round teares
CoursM one another downe his innocent nofe
In pitteous chafe : and thus the hairie foole.
Much marked of the melancholie laques , 44
34. atUUke\ anHque Pope. 34. roote\ roope F,. roop F^F^.
•t least, it will not be heard otherwise than as a dissyllable : Jaq-nfes, which is as Mn
Kemble pronounced it, — for me an ample authority. — Ed.
34. Collier [Introd. p. 5) has preserved the following note, < made at the time,'
from Coleridge's Lectures in 1818 : < Shakespeare never gives a description of rustic
scenery merely for its own sake, or to show how well he can paint natural objects ; he
is never tedious or elaborate, but while he now and then displays marvellous accuracy
and minuteness of knowledge, he usually only touches upon the larger features and
broader characteristics, leaving the fillings up to the imagination. Thus, he describes
an oak of many centuries* growth in a single line : " Under an oak whose antique root
peeps out" Other and inferior writers would have dwelt on this description, and
worked it out with all pettiness and impertinence of detail. In Shakespeare the
"antique root" furnishes the whole pictture.'
34. anticke] Accented by Shakespeare on the first syllable. Steevens calls atten*
tion to Gray's Elegy : * There at the foot of yonder nodding beech,' &c.
36. the which] See I, ii, 120.
39. Whalley (p. 57) compares this passage with Vergil's description, j€n. vii,
500 €t ug,, a remote and almost pointless comparison, which, nevertheless, Malone
and some other editors have repeated.
41. temres] Steevens : In one of the marginal notes to a similar passage in the
13th Song of Drayton's Pofy-o/dion, it is said that, * The Hart weepeth at his d3ring;
his teares are held to be precious in medicine.' Douce (i, 296) : * When the hart is
arered, he fleethe to a r3rver or ponde, and roreth cryeth and wepeth when he is take,'
BaimoH vpon Barthohme^ xviii, 30.
42. 43. Cours'd . . . chase] Whiter (p. 97) : Surely no reader of taste can
doubt but that the < stag ' and < the hunter ' led the imagination of the poet to this
beautiful metaphor.
43. foole] For many references to the use of this word where no reproach is
implied, see the notes on Lear^ V, iii, 306 : 'And my poor fool is hang'd I'
76 AS YOU LIKE IT [act ii. sc. iL
Your Grace was wont to laugh is alfo milling, lo
Hifperia the Princeffe Gentlewoman
Gonfeffes that (he fecretly ore-heard
Your daughter and her Gofen much commend
The parts and graces of the Wraftler
That did but lately foile the fynowie Charles^ 15
And fhe beleeues where euer they are gone
That youth is furely in their companie. 17
10. iaugh.„mijing\laughf,., missing: 1 1. Hifperia] Ff, Rowe + , Cam. Mob.
Ff. Wh. ii. ^/-j/Jm^ Warb. et cet
CentUrvoman] F,.
Harvey*8 Pierce's Supererogation^ 1 593 [p. 229, cd. Grosart] : 'Although she were
.... somewhat like Gallemella, or maide Marian, yet was she not such a roinish ran-
nell .... as this wainscot-faced Tomboy.* Hunter (i, 346) : I conceive * roynish *
to mean obtrusive, troublesome, a fault we may well suppose often belonging to the
poor unfortunates who were retained in the houses of the great. This at least is one
of the meanings of the word, and it seems to suit the passage quite as well as the
disagreeable senses which all the editors, down to the latest, have given it. Parkin-
son says of the Germander that on account of its disposition to spread, it must be
taken up and new set once in three or four years, < or else it will grow too roynish and
troublesome,' Paradisus Terresfris, 1629, p. 6. Halliwell : Himter misinterprets
the passage in Parkinson; 'roynish ' there means coarse; and 'troublesome' is used
in a somewhat peculiar sense. * The slouen and the carelesse man, the roynish nothing
nice.' — ^Tusser {^Five Hundred Points of Good Husbandry^ &»c., p. 142, ed. 1 614].
Staunton : It may, however, be no more than a misprint of roguish, Wright :
Cotgrave gives : < Rongneux .... scabbie, inangie, scuruie.' The contemptuous
phrase in Macb, I, iii, 6, 'the rump-fed ronyon,' had probably the same origin.
.... In the form 'nnish,' 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 IVords, is perhaps another form of the same. [I do not find it in
Skeat.— Ed.]
11. Hisperia] That Warburton should have changed this name to suit himself is
not surprising, but what excuse can his followers urge ? Of the conclusion of this
speech a writer in Blackwood^ April, 1833, says : ' No unfitting conjectiure for a Sec-
ond Lord and First Chambermaid ; but, though not wide amiss of the mark, as it hap-
pened, yet vile. Hesperia would have left her couch at one tap at the window, and
gone with the Wrestler whom she overheard the young ladies most commend (though
we suspect, notwithstanding his mishap, that she would have preferred Charles), but
Hesperia did not at all understand their conmiendation ; and had she been called on
to give a report of it for a Court Journal, would not merely have mangled it sadly, but
imbued it with her own notions of " parts and graces." '
II. Princesse] For many other instances of the omission of the plural or posses-
sive J after words ending in the sound of x, see Walker, Vers. 243, or Abbott, § 471.
See also ' Princesse,' I, ii, 159.
14. Wrastlcr] A trisyllable. See Walker, Vers. 7, or Abbott, § 477.
ACT II, sc. iii.] AS YOU LIKE IT 77
Duk, Send to his brother, fetch that gallant hither, i8
If he be abfent, bring his Brother to me.
He make him finde him : do this fodainly ; 20
And let not fearch and inquifition quaile,
To bring againe thefe foolilh runawaies. Exunt. 22
Scena Tertia.
Enter Orlando and Adam.
Orl. Who's there f
Ad. What my yong Mafter, oh my gentle mafter.
Oh my fweet mafter, O you memorie
Of old Sir Rowland] why, what make you here ? 5
Why are you vertuous ? Why do people loue you ?
And wherefore are you gentle, ftrong, and valiant ?
Why would you be fo fond to ouercome 8
18. brother] brother's Cap. Ktly, Dyce I. Oliver's House. Rowe.
iii, Huds. 5. Rowland;] Rowland? Ff.
z8. brother] Mason : I believe we should read brother's. When the Duke says,
< Fetch that gallant hither/ he certainly means Orlando. [An emendation which
Mason may /Arni^^K have made independently of Capell; in whose text it is found.
It is almost demanded by the next line. — Ed.]
20. sodainly] Halliwell : That is, soon, immediately. This meaning, formerly
prevalent, is not now used in colloquial language. In an advertisement appended to
Walker's Treatise of English Particles, 1679, we are told that *the Whole Duty of
man .... is now printing, and will suddenly be finished.' Wright : G)mpare
Psalm vi, 10 : < Let them return and be ashamed suddenly.'
21. quaUe] Steevens : To < quail ' is io faint, to sink into dejection. Douce (i,
297) : Here, however, it means to slacken, relax, or diminish. * Thus Himger cureth
love, for love quaileth when good cheare faileth.' — The Choise of Change, 1585.
Singer : < To quaile, fade, faile,' are among the interpretations Cotgrave gives of the
word Alachir. Dyce (ed. iii) : Mr Lettsom observes that *fail [Mr Lloyd's con-
jecture] seems more appropriate here than " quail." '
4. memorie] Steevens: Often used by Shakespeare for memorial. Malonb
(note on * these weeds are memories of those worser hours,' Lear, IV, vii, 7) : Thus
in Stowe's Survey, 161 8; <A printed memorie hanging up in a table at the entrance
into the church door.'
8. 80 fond to] See I, iii, 68. Wright : * Fond ' is contracted from * fonned ' or
'fonnyd.' The latter form occturs in Wiclif's version of i Qor. i, 27 (ed. Lewis),
where < tho thingis that ben fonnyd ' is the rendering of < quae stulta sunt.' The former
w found in the second of the Wiclifite Versions, edited by Forshall and Madden, i
.LKfJI^Cl. .
78 AS YOU LIKE IT [act ii. sc. iii.
The bonnie prifer of the humorous Duke f
Your praife is come too fwiftly home before you. ID
Know you not Mafter,to feeme kinde of men,
Their graces ferue them but as enemies,
No more doe yours : your vertues gentle Mafter 1 3
9. bonnie] bonny Ff, Rowe, Pope, bony Johns, et cet.
Theob. Han. Wh. i, Cam. boney Warb. 11. feeme] /ome Ff.
Cor. i, 20, * Whether God hath not maad the wisdom of this world fonned ?* where the
Vulgate has ' nonne stultam fecit Deus sapientiam hujns mundi ?' Hence * fonnednesse '
in the same version is used for < foolishness.' * Fonned ' is derived fix>m * fon,' a fool,
which occurs in Chaucer's Revels Tale^ 1. 4087 : * II hail, Aleyn, by God ! thou is a fon.'
Afiud ' fon ' is connected with the Swedish ybn^, and perhaps with the Latin vanus.
9. bonnie] Warburton : We should read bony. For this wrestler is character-
ised for his strength and bulk, not for his gayety or good humour. Heath (p. 146) :
* Bonny * does not signify gay or good-humoured only, but high-spirited , active.
Steevens : * Bonny,' however, may be the true reading. So in ^ Hen. VI: V, ii,
12: 'Even of the bonny beast he lov'd so well.' M alone: The word * bonny'
occurs more than once in Lodge's Novel. Dyce (ed. iii) : * Bonny ' is retained by
some editors, most improperly I think. (As Charles is here called ' bony,' so in the
preceding scene he is called * sinewy.') Wright : 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-hke man.
9. priser] Wright : Prize-fighter, champion ; properly, one who contends for a
prize, as in Jonson's Cynthia^ s Revels, IV, i [p. 323, ed. Gifford] : * Well, I have a
plot upon these prizers.' Again, lb, V, ii [p. 334, and in at least three other passages in
the same scene].
9. humorous] See I, ii, 265.
II. seeme kinde of men] See Lear, II, ii, 96, or Abbott, § 412.
II, 12. Walker (Crii. i, 55) gives this, among others, as an instance <of what
may, perhaps, be described as an instinctive striving after a natural arrangement of
words, inconsistent indeed with modem English grammar, but perfectly authorised by
that of the Elizabethan age.' < Here a Greek would find no difficulty : Ovk olaSa,
bn ivloiq rijv avOpCmuv Ktu rd, avruv KaXa iro^fuA eartv ; One may perhaps compare
Sidney, Arcadia, bk. iii, p. 323, 1. 15, " The general concert of whose mourning per-
formed so the natural times of sorrow, that even to them (if any such were) that felt
not the loss, yet others' grief taught them grief — ." * So, too * —let it then suffice To
drown one woe, one pair of weeping eyes,' R, of L, 1. 1679. Abbott, although he
gives these lines under his paragraph (§ 414) which treats of redimdant accusatives,
yet says that * them ' is in a somewhat different case, probably because the inverted
order calls for a repetition for clearness' sake. The instance fiom Sidnejr's Arcadia
cited by Walker seems to me exactly parallel. Though the * them ' is redundant, it
is not of the some kind of redundancy as in < I know you what you are.'— Ed.
13. No . . . yours] Abbott, § 414 : That is, your graces are not more serviceable
to you. Schmidt (s. v. more, 5) says that *no less would have been expected.*
Hardly, I think. If the service were a real service, we might say * no less '; but the
service is false, virtues are traitors, and * no more ' good service does Orlando get from
his graces than if they were his enemies. — Ed.
ACT II, sc. iii.] AS YOU LIKE IT 79
Are fanftified and holy traitors to you :
Oh what a world is this, when what is comely 15
Enuenoms him that beares it ?
Why, what^s the matter ?
Ad. O vnhappie youth.
Come not within thefe doores : within this roofe 19
17. WSy] Orl. WSyFfetseq. it^, within this\ beneath this Cap.
19. within the/e"] with thefe F,. conj.
15. when] Allen (MS): Possibly, ^ where what is comely.* If *when* be
retained, then < world ' is taken in its most restricted meaning, as this life of our little
domestic circle. If where is used, then the * world ' is equivalent to this wide world
of man, this animate creation of God's. Cf. II, vii, 1 1 : < what a life is this That
your poor friends must woo your company.' Also below, line 59 : ' The constant ser-
vice of the antique worlds When service sweat for duty.' [A note, added later.—
Ed.] Cf. De Quincey {Suspiria^ p. Z94) : < In what world was I living when a man
(calling himself a man of God) could stand up publicly, and give God "hearty
thanks," that He had taken my sister?' (Perhaps, therefore, in Shakespeare, the
full meaning is, ' What a pass has this world come to, when^ &c. And so < when '
can stand.)
16. Enuenoms] Walker {Crit, iii, 61): Was the shirt of Nessus in Shake-
speare's mind ? [The same reference occurred independently to Allen. See next
note.]
16. beares] Allen (MS) : The figure appears to be that of putting on a garment,
like the shirt of Nessus or that sent by Medea to Jason's new wife. If so, * bears '
is, singularly, used like the French porter {^ parte un bel habit), or we should read
wears,
19. within this roofe] Collier (ed. ii) : This may be right, and we do not alter
it; but * beneath this roof seems more proper, and that is the word in the (MS).
Perhaps the old printer repeated * within ' by mistake. [This remark of Collier's, if
needless, is, apparently, perfectly harmless, and yet it seems to have irritated Dyce
greatly, who in his StrictureSy &c., p. 68, writes as follows : * It is most unwise in Mr
Collier to commit himself, as here and in fifly other places, by thinking it necessary
to say something in favour of those very readings of his Corrector which he does not
adopt, ** Roof" was often used for the house in general : ** If time, and foode, and
wine enough acme Within your roofe to vs," &c., Chapman's Homer's Odysses, b.
xiv, p. 216, ed. fo.' It is impossible for us, removed as we are by time and space
from the animosities of the hour, to comprehend the reason for the sharpness of the
criticisms on Collier. Thus, in the present case, I cannot, try as I may, see why it is
' most unwise ' to express a mild approval of an emendation, which is all that Collier
has here done ; he does not commit himself by changing the text, he merely says the
emendation < seems more proper,' wherein I must say I agree with him ; and if Dyce
had only turned to Mrs Clarke's Concordance he could have foimd there three
instances at least where reference is made to being * underneath ' or * under ' a roof,
and there may be others : the point is not worth further time, because * roof is unques-
tionably used elsewhere for the whole house. Before Dyce issued his third edition
he had learned that the same conjecture had been made by Capell, who is held by all
8o AS YOU LIKE IT [act ii. sc. iii.
The enemie of all your graces Hues 20
Your brother, no, no brother, yet the fonne
(Yet not the fon, I will not call him fon)
Of him I was about to call his Father,
Hath heard your praifes, and this night he meanes,
To bume the lodging where you vfe to lye, 25
And you within it : if he faile of that
He will haue other meanes to cut you off;
I ouerheard him: and his pra6lifes :
This is no place, this houfe is but a butcherie ;
Abhorre it, feare it, doe not enter it. 30
Ad. Why whether Adam would'ft thou haue me go?
Ad. No matter whether, fo you come not here.
Orl. What,would'ft thou haue me gd& beg my food,
Or with a bafe and boiftrous Sword enforce
A theeuifh liuing on the common rode? 35
This I muft do, or know not what to do :
Yet this I will not do, do how I can.
I rather will fubieft me to the malice 38
21. noy no brother^ no; no brother^ 31, 32. whether] whither Ff.
Rowe ii + . no; no brother; Theob. 31. would' Jf] would Y^,
Warb. 32. /? you] for you Ff.
31. Ad.] Orl. Ff.
Shakespeare scholars in esteem, and although he still pronounced the conjecture
< very erroneous/ he did not repeat his remark about the unwisdom of expressions
of approval. — Ed. "J
26. faile of] See Abbott, $ 177.
28. practises] Dyce : Contrivances, artifices, strategems, treachery, conspiracy.
29. place] Steevens : < Race ' here signifies a seat^ a mamum^ a residence. So
in / Samuel f xv, 12 : * Saul came to Carmel, and, behold, he set him up a place,' &c.
Thus * Crosby place * in Rich. III.^ &c. Malone : Compare A Lover's Complaint^
82 : < Love lack'd a dwelling and made him her place.' Mason (Additional Com-
ments, &c., p. 21) : It i^ppears to me that Adam means merely to tell Orlando that
his brother's house was no place fit for him to repair to. Compare Fletcher's Mad
Lover [I, ii, 3], where Memnon says : ' Why were there not such women in the camp
then, Prepar'd to make me know 'em ?' To which Eumenes replies, * 'Twas no place,
sir.' Meaning that the camp was not a place fit for them. Knight : But there could
be no sense in saying this is no house — place — ^mansion ; this house is but a butchery.
It is clearly, this is no abiding-place. Dyce follows Steevens. Neil : There is per-
haps here an aposiopesis^ or emotional interruption of the sentence, leaving the words,
* for you to approach,' unexpressed.
31, 32. thou . . . you] See I, i, 74.
38. subiect] Steevens, Malone, Dyce, in fact all editors who adopt accents in the
ACT u, sc. ui.] AS YOU LIKE IT 8i
Of a diuerted blood, and bloudie brother.
Ad. But do not fo : I haue fiue hundred Crownes/ 40
The thriftie hire I faued vnder your Father,
Which I did ftore to be my fofter Nurfe,
When feruice fhould in my old limbs lie lame.
And vnregarded age in comers throwne,
Take that, and he that doth the Rauens feede, 45
Yea prouidently caters for the Sparrow,
Be comfort to my age : here is the gold.
All this I giue you, let me be your feruant.
Though I looke old, yet I am ftrong and luftie ; 49
41. your] you Ff. 44. age^ age be Ktly.
43. IW] be Han. Quincy (MS).
text, here accent the second syllable. The inference is that without this aid to the
eye the unwary reader would pronounce the word * sdbject ' ; and Wright goes so far
as to call attention to the fact that * the accent is on the last syllable, as in Temp. I, ii,
114.' This is puzzling. Are we to infer that in England at the present day this verb
is an exception to the rule that dissyllabic verbs accent the second syllabic ? As
Rolfe says : * This [1. e. subject] is the modem pronunciation of the verb, at least in
this country; and it is the only one in Shakespeare.' — Ed.
39. diuerted blood] Johnson : That is, blood turned out of the course of nature.
Collier : The line as it stands is intelligible enough ; but it may be reasonably
doubted whether the old compositor did not make a lapse, for the MS corrector
instructs us to read : * diverted, protui^ &c. * Blood ' was formerly often spelt blotidy
and hence, possibly, the error of mistaking proud for * bloud.' Dyce ; * The lan-
g^uage is so strikingly Shakespearian, that nothing but the most extreme obtuseness
can excuse the MS corrector's perverse reading.' — Blackwood'' s MagazifUy Aug.
1853, p. 198. Wright : * Blood ' is used for passion in opposition to reason in
Ham. Ill, ii, 74. Here it denotes natural affection, such as should accompany blood-
relationship.
41. thriftie hire] A singular use of the adjective. The thrift is neither the cause
of the hire nor the effect of the hire. It cannot, therefore, I think, be exactly paral-
leled by *weak evils' in II, vii, 138, which are evils caused by weakness, nor by the
* gentle weal ' in * Ere humane statute purged the gentle weal,' Macb. Ill, iv, 76, that
is, 'purged the commonwealth and made it gentle.' Both of these examples have
been adduced as parallel. It is more like ' youthful wages ' in line 69 below, a con-
structio pregnansy to which the ordinary meaning of prolcpsis scarcely, perhaps,
applies. Allen (MS) paraphrases : * that which by my thriftiness I saved out of
the hire,' &c. — Ed.
44. In his paragraph (§ 403) on the * Ellipsis of // is. There m, Is ' Abbott gives
this passage and thus prints this line : *And unregarded age (? should be) in comers
thrown.' To harmonise the construction and avoid this ellipsis Hanmer substituted
A^ for ' lie ' in the preceding line, which is not only needless, but, I think, really
injorious. There is a certain feebleness or helplessness in the old limbs iyifig lame in
comeis, which Hanmer's text obliterates. — Ed.
6
83 AS YOU LIKE IT [act ii, sc. iiL
For in my youth I neuer did apply 50
Hot^and rebellious liquors in my bloud^
Nor did not with vnbafhfuU forehead woe,
The meanes of weakneffe and debilitie,
Therefore my age is as a luftie winter,
Froftie, but kindely ; let me goe with you, 55
He doe the feruice of a yonger man
In all your bufmeffe and neceffities.
OrL Oh good old man, how well in thee appeares
The conftant feruice of the antique world.
When feruice fweate for dutie, not for neede: 60
Thou art not for the faftiion of thefe times.
Where none will fweate, but for promotion,
And hauing that do choake their feruice vp,
Euen with the hauing, it is not fo with thee : 64
51. wf my^ to my Cap. conj. 60. fweate] swet Dycc, Clke.
52. nof] /Rowe + . neede"] F^, Rowe i. meede F,Fj
59. feruice] fashion Ktly. virtue Neil et cet
conj.
51. rebeUious liquors in] Malone suggested that the rebellion here is that against
reason, but Steevens, with greater probability, I think, interpreted the reference as to
liquors < that rebel against the constitution.' In this case Capell's conjecture of < to the
blood * is rendered needless. — Ed.
52. Nor did not] For the double negative here, and * I cannot goe no further,* in
the eleventh line of the next scene, see Abbott, § 406, or Shakespeare passim.
57. businesse] Allen (MS) suggests that this is the plural, business',
59, 60. seruice . . . seruice] Walker (Crit. i, 293) : I believe that the former
service * is the corrupt one ; yet I can imagine Shakespeare having written, < When
duty sweat for duty,' &c. [Lettsom in a foot-note conjectiu-es, < The constant tem-
per^ &c.] Collier (ed. ii) : The (MS) corrector alters the former * service ' to
favour^ in the sense of likeness or appearance. Halliwell : One critic suggests
that the second ' service ' should be altered to servants, [It is to be confessed that
in general the repetition of a word in the very next line is suspicious, but here there
seems a need for the repetition. Moreover, in this speech there are other repetitions ;
lee, as Rolfe points out, < sweat,* in lines 60 and 62 ; and < having,* in lines 63 and
64.— Ed.]
60. sweate] This form may be considered either as the perfect indicative with the
-ed absorbed, for which see Abbott, § 341, or it may be a strong form and pronounced
rwcttf or the spelling may be changed as Dyce has changed it. — Ed.
60. neede] An instance of variation in different copies of the First Folio. The
original of Booth's Reprint and of Staunton's Photo-lithograph evidently read
* meede;* and so also presumably did that of the Cambridge Editors; they have
recorded no variant. My copy reads unmistakeably 'neede.* — ^Ed.
64. hauing] Johnson : Even with the promotion gained by service is service
extinguished.
ACT II, sc. iii.] AS YOU LIKE IT 83
But poore old man, thou prun'ft a rotten tree, 65
That cannot fo much as a bloffome yeelde,
In lieu of all thy paines and husbandrie,
But come thy waies, weele goe along together,
And ere we haue thy youthfuU wages fpent,
Weele light vpon fome fetled low content. 70
Ad, Mafter goe on, and I will follow thee
To the laft gafpe with truth and loyaltie,
From feauentie yeeres, till now almoft fourefcore
Here liued I, but now Hue here no more
At feauenteene yeeres, many their fortunes feeke 75
But at fourefcore, it is too late a weeke,
Yet fortune cannot recompence me better
Then to die well, and not my Mafters debter. Exeunt J>i
73. /eauentU] feventy Ff. seventeen Rowe et acq.
65. rotten tree] Moberly : Orlando says melancholy things, as in I, ii ; but his
elastic mind rises instantly from such thoughts, and in a few moments he anticipates
< some settled low content.' A fine instance of the same manly temper is found in
the Iliad^ vi, where Hector at one moment dwells sorrowfully on his wife's inevitable
doom of slavery at Argos, and the next thinks of her as a joyful Trojan mother wel-
coming back her victorious son (see w. 447-465 and 476-481).
71. thee] Note the change of the personal pronoun with the changed personal
relations. — Ed.
73. seauentie] See Text. Note for the obvious correction.
76. a weeke] Caldecott . That is, a period of time, indefinitely. The calcula-
tion of time by this interval was not then confined, as it is at present, to small con-
tracts or domestic engagements and a fixed period, but embraced a large and indefinite
compass and extended to all things. < To whose heavenly praise My soule hath bin
devoted many a weeke,* Heywood's Britain^ s Troy^ 1609, p. 251. Halliwell
adds also, from Heywood's Workes [Spenser Soc. ed. p. 74 — ap. Wright]. 'And,
amend ye or not, I am to olde a yere.' Wright : But it seems more likely that < a
week ' is an adverbial phrase equivalent to * i' the week.' See < a night,* line 49, in
the next scene. Verity: Perhaps in the week is the meaning; or, which seems to
me more probable, < by a week.'
84 AS YOU LIKE IT [act ii, sc. iv.
Scena Quarta.
Enter Rofaline for Ganimedy Celiafor Aliena,and
ClownCy alias Touchjlone.
Rof, O lupitery how merry are my fpirits ? 3
z . Rofaline . . .Touchftone] Rosalind in Rowe.
Boys Cloaths for Ganimed, Celia drest 3. merry\ Ff, Rowe, Pope, Cald. Knt.
like a Shepherdess for Aliena, and Clown. weary Theob. et cet
3. merry] Theobald : And yet, within the space of one intervening line, she says
she could find in her heart to disgrace her man's apparel and cry like a woman.
Sure, this is but a very bad symptom of the briskness of spirits : rather a direct proof
of the contrary disposition. Mr Warburton and I both concurred in conjecturing it
should be, as I have refonn'd it in the text : * how weary are my spirits.* And the
Qown's reply makes this reading certain. [ Weary was also suggested to Theobald
in 1732 by an anonymous correspondent, L. H. ; see Nichols's Illust. ii, 632. — Ed.]
Guthrie {Crit. Rev., Dec. 1765, p. 407) : We think that Rosalind's rejoinder [lines
6, &c.] makes the original reading certain ; from this speech (which we are to suppose
Celia not to hear) Rosalind affects a merriness of spirits. Malone : Rosalind invokes
* Jupiter ' because he was supposed to be always in good spirits. So afterwards : * O
most gentle Jupiter I' The context and the Clown's reply render certain Theobald's
emendation. Whiter (p. 16) : The context, however, and the Qown's reply, added
to the comment of Mr Malone, establish the original reading and render Theobald's
emendation certainly wrong. Does not the reader perceive that the whole humour
of the passage consists in the word Merry, and that Rosalind speaks thus ironically
in order to comfort Celia? •O Jupiter!' says she, *what Merry spirits I am in!*
To which the Qown replies, * I care not whether my spirits were good or bad, if my
legs were not weary.' — * Indeed,* adds Rosalind, * to speak the truth, tho' I pretend
in my mannish character to be in good spirits, and not to be weary, yet I could find in
my heart to disgrace my man's apparel and to cry like a woman ; as it becomes me,
however, to comfort the weaker vessel, I must assume a quality which I have not ; —
therefore, courage^ good Aliena, bear fatigue as I do, good Aliena.* Nothing is more
certain than this explanation. Knight pronounces Winter's explanation as marked
* with great good sense.* Collier : Why should Rosalind assume good spirits here
to Celia, when in the very next sentence she utters she says that her spirits are so bad
that she could almost cry? White (ed. i) : If Rosalind were to say that her spirits
were * merry,* Touchstone's reply would have no point. In Walker's chapter [Crit,
ii, 300) on < m and w confounded ' this line is cited ; and that Knight should have
followed the Folio in reading * merry * Walker marks with an exclamation. Dyce
quotes Knight's note, printing in small capitals *■ great good sense,* and adds at the
conclusion : * Surely such notes are quite enough to make any one " merry,'* — absolute
Cordials for Low Spirits^ [With all deference to my betters, I respectfully but
firmly protest against making the cart draw the horse, and changing Rosalind's speech
to suit the himiour in Touchstone's. The confusion of m and tf, on which Walker
ACT II, sc. iv.] AS YOU LIKE IT 85
Clo. I care not for my fpirits, if my legges were not
wearie. 5
Rof. I could finde in my heart to difgrace my mans
apparell, and to cry like a woman : but I muft comfort
the weaker veffell, as doublet and hofe ought to fhow it
felfe coragious to petty-coate; therefore courage, good
Aliena, 10
Cel. I pray you beare with me, I cannot goe no fur-
ther.
Clo. For my part, I had rather beare with you, then 13
7. to] Om. Rowe + . 11. cannot "} can Ff, Rowe, Pope, Han.
9. to\ to a FjF^, Rowe. Johns. Cap. Coll. Sing. Clke, Ktly.
11, 12. further\ farther Coll.
relies, will do well enough in such words as may and way^ mind and wind^ meek and
weeky &c., but a little too much confusion is demanded to justify the change of nurry
into wearie. The ductus literarum is helpful where nonsense is to be converted to
sense, but is there any nonsense here ? Is it not clear that Rosalind is talking for
effect ? With Celia * fainting almost to death ' and needing every possible encourage-
ment, is it likely that Rosalind, the taller and stronger of the two, would utter such a
wail of despair as the substitution of weary for * merry ' would make her sigh forth ?
Of course this merriment of hers is assumed, and that it is assumed, and that we may
know that it is assumed, she tells us, in an aside, by confessing that in her heart she
is ready to cry like a woman. This confession must be in an aside ; at least Celia
must not hear it ; if Celia heard it no syllable of stimulus would she have foimd in an
encouragement thus clearly and confessedly fictitious; she must believe Rosalind's
courage to be genuine if it is to impart any strength to her. Grant that this last con-
fession of Rosalind's is an aside, then it is clear that in the first line, which cannot be
an aside, we must retain * merry,' and with it the strength of Rosalind's character.
Deny that this confession is an aside, then we may adopt Theobald's weary ^ add a
feeble ray of humour to Touchstone's remark, reduce all that Rosalind says to a
whine, and weaken Celia's character by showing her capable of being encouraged by
a jauntiness confessedly and openly false and assumed. — Ed.]
9. therefore courage] To indicate the termination of the aside, and that ' cour-
age ' is the first word addressed to Celia, I think this should be printed * Therefore,
courage, good Aliena !' — Ed.
II. cannot goe no] See line 52 of preceding scene. Caldecott regards this
double negative as so thoroughly Shakespearian that he cites the change in the Second
Folio (see Text. Notes) as one among many proofs of Malone's theory, that the altera-
tions in that edition were * arbitrary and made without a knowledge of the author's
manner.* But Dyce (ed. iii) says : * I feel strongly tempted to read here, with the
Second Folio, " I can go no further," the very words of Adam in the first line of the
sixth scene below.' [However strong the temptation, it is unquestionably wise to
resist it. — Ed.]
13, 14. beare . . . beare] A play on the same word is cited by Steevens in Rich,
III: III, i, 128; and by Wright in Two Gent. I, i, 125-128.
86 AS YOC/ LIKE IT [act ii. sc. iv.
beare you : yet I fliould beare no croffe if I did beare
you, for I thinke you haue no money in your purfe. 15
Rof. Well, this is the Forreft of Arden.
Clo, I, now am I in Arden, the more foole I, when I
was at home I was in a better place, but Trauellers muft
be content
Enter Carin and Siluius. 20
Rof. I, be fo good Touchjionex Look you, who comes
here, a yong man and an old in folemne talke.
Cor. That is the way to make her fcome you ftill. 23
14. crosse] Dyce : ' The ancient penny, according to Stow, had a double cross
with a crest stamped on it, so that it might be easily broken in the midst, or in four
quarters. Hence it became a common phrase when a person had no money about
him, to say, he had not a singU cross. As this was certainly an unfortunate circum-
stance, there is no end to the quibbling on this poor word,' — Gifford's note on John^
son's Works f vol. i, p. 134. Wright: A play upon the figurative expression in
MattheWf x, 38.
17. Arden] Upton (p. 245) : The Clown, agreeable to his character, is in a pun-
ning vein, and replys thiis, <Ay, now I am in a den,* &c. Hartley Coleridge (ii,
141) : Nothing can exceed the mastery with which Shakespeare, without any obtru-
sive or undramatic description, transports the imagination to the sunny glades and
massy shadows of imibrageous Arden. The leaves rustle and glisten, the brooks mur-
mur unseen in the copses, the flowers enamel the savannas, the sheep wander on the
distant hills, the deer glance by and hide themselves in the thickets, and the sheep-
cotes sprinkle the far landscape spontaneously, without being shown off, or talked
about. You hear the song of the birds, the belling of the stags, the bleating of the
flocks, and a thousand sylvan, pastoral sounds beside, blent with the soft plaints and
pleasant ambiguities of the lovers, the sententious satire of Jacques, and the courtly
fooling of Touchstone, without being told to listen to them. Shakespeare does all
that the most pictorial dramatist could do, without ever sinking the dramatist in the
landscape-painter. The exuberant descriptions of some recent authors are little more
dramatic than the voluminous stage directions in translated German melodramas. I
know not what share the absence of painted scenes might have in preserving our old
dramatists from this excess, but I believe that the low state of estimation of landscape-
painting had a good deal to do with it. Luxurious description characterises the sec-
ond childhood of poetry. In its last stage, it begins, like Falstaff, to babble of green
fields.
21, 22. Walker {Crit, i, 16) : Arrange thus:
'Ay,
Be so, good Touchstone ; — ^Look you, who comes here ;
A young man and an old, in solemn talk.'
This, too, serves as a stepping-stone from the prose dialogue preceding to the con-
versation in verse between Corin and Silvius.
ACT n, sc. iv.] AS YOU LIKE IT %7
Sil. Oh Corifty that thou kneVft how I do loue her.
Car. I partly guefle : for I haue lou'd ere now. 25
Sil. No CoriHy being old, thou canft not guefle,
Though in thy youth thou waft as true a louer
As euer fighM vpon a midnight pillow :
But if thy loue were euer like to mine,
As fure I thinke did neuer man loue fo : 30
How many aftions moft ridiculous.
Haft thou beene drawne to by thy fantafie ?
Car, Into a thoufand that I haue forgotten.
Sil. Oh thou didft then neuer loue fo hartily,
If thou remembreft not the flighteft folly, 35
That euer loue did make thee run into.
Thou haft not louM.
Or if thou haft not fat as I doe now, 38
29. euer] ere Ff. 35. JlighiefT] slighted Rowe.
30, in parenthesis, Pope et seq. 38. fat] /ate Ff, Rowe.
34. neuer] ne'er Rowe + , Coll.
27. wast] Allen (MS) : Wert seems to be required. Silvius does not mean
to state or to recognise the fact that Corin really had been such a lover, but merely
to concede that if Corin had been, &c. he could not now, in his old age, guesa^
&c.
32. fantasie] Wright : The earlier form of the word * fancy.' * Fantasie * occurs
in Chaucer's Merchants Tale, 1. 945 1, in the margin of the later Wiclifite version of
Josh, xxii, 19, and perhaps earlier still. Arber, in the few words of Introduction to
his reprint of Dryden's Essay on Dramatic Poesie {^English Gamer , iii, 502), notes
four changes of the meaning of * fancy.' First, in the Elizabethan Age it was but
another word for personal Lave or Affection, Second, by the Restoration Age its
meaning had utterly changed. Sir Robert Howard, who wrote it Phancy, Dryden,
and that generation understood by it. Imagination, the mental power of Picturing
forth. Third, Coleridge, in his Biographic Literaria, 1812, endeavours yet further
to distinguish between Imagination and Fancy; calling Milton an Imaginative Poet,
and Cowley a Fanciful one. Fourth, it is now also used in another sense, < I do not
fancy that,' equivalent to * I do not like or prefer that'
34. Johnson : I am inclined to believe that from this passage Suckling took the
hint of his song : * Honest lover, whosoever. If in all thy love there ever Was one
wav'ring thought ; if thy flame Were not still even, still the same ; Know this Thou
lov'st amiss. And to love true. Thou must begin again, and love anew,' &c
36. into] The second syllable receives an accent. See Walker {Crit. ii, 173) or
Abbott, §457, <j.
37, 40, 43. Abbott, § 511 : Single lines with two or three accents are frequently
interspersed amid the ordinary verses of five accents. These lines are often found in
passages of soliloquy where passion is at its height Thus in the madness of Lear^
IV, vi, 1 12-127. So in this impassioned speech of Silvius.
88 AS YOU LIKE IT [act ii, sc. iv.
Wearing thy hearer in thy Miftris praife,
Thou haft not lou'd. 40
Or if thou haft not broke from companie,
Abruptly as my paflion now makes me,
Thou haft not lou'd.
Phebe, Phcbe, Phebe. Exit
Rof. Alas poore Shepheard fearching of they would, 45
1 haue by hard aduenture found mine owne.
Clo. And I mine : I remember when I was in loue, I
broke my fword vpon a ftone, and bid him take that for
comming a night to lane Smile, and I remember the kif-
fing of her batler, and the Cowes dugs that her prettie 50
39. Wearing"] Wearying Ff, Rowe + , 46. mine] my Rowe ii + , Cald.
Cap. Steev. Mai. Coll. Clke, Ktly, Huds. 49. a nigA/'] a nights Ff, Rowe + .
Wh. ii. Wearing Wh. i. 0* nights Cap. 0^ night Mai. Wh. anight
44. Exit.] Exeunt. Ff. or a-night Steev. et cet.
45. they woiild"] their wound YijCtXd.. 50. batter'] batlet Ff, Rowe + , Cap.
Knt. thy wound Rowe et cet. Steev. Mai. Sing. Dyce.
39. Wearing] Whiter (p. 17) cites an old definition from Junius, Etymol. Angli-
cany s. V. Weary which shows clearly enough that to wear and to weary w^ere formerly
synon3rmous, and then adds : but the following quotation from Jonson's The Gipsies
Metamorphosed [p. 419, ed. Gifford] puts the matter out of dispute : * Or a long pre-
tended fit. Meant for mirth, but is not it ; Only time and ears out-wearing.' Skeat
derives * wear ' from A.-S. werian^ to clothe ; and * weary ' from A.-S. wkrigy tired,
connected with A.-S. worian, to wander, a weak verb formed from the substantive
w6r, which probably meant a moor or swampy place ; so that worian was originally
* to tramp over wet ground,' the most likely thing to cause weariness.
41 . broke] For a list of similar participles that have dropped the -en^ see Abbott, § 343.
43, 44. From Capell to Collier these two lines were printed improperly as one ;
Collier restored the old division.
45. searching of] For similar instances of this preposition afler present parti-
ciples, meaning * in the act of,* see Abbott, § 178. Cf. also II, vii, 5.
45. they would] See Text. Notes. Neither Caldecott nor Knight gives any
justification of their text. Unquestionably Rowe's correction should stand. — Ed.
46. aduenture] Allen (MS) : The * adventure * (or experiment, /^n//«/w F) was
not in itself a hard or painful one to Rosalind ; but by the chance of hearing Sylvius
expose his state [of love-pains] her similar pains were brought out ; and the hardness
was in the pain thus brought out.
49. a night] For many examples of adverbs with the prefix a-, which represents
some preposition, as in, on, of, &c., contracted by rapidity of pronunciation, see
Abbott, § 24.
49, 51. the kissing of . . . the wooing of] Abbott, § 93 : The substantive use
of the verbal with * the * before it and *of* after it, seems to have been regarded as
colloquial. Shakespeare puts it into the mouth of Touchstone.
50. batler] Johnson : The instrument with which washers beat their coarse clothes.
ACT II, sc. iv.] AS YOU LIKE IT 89
chopt hands had milk'd; and I remember the wooing 51
of a peafcod inftead of her , from whom I tooke two
Halliwell: Often spelt batUt. It is also called a bailing-staff ox a bat-staffs and
sometimes a batting-staff. Wright [gives many forms of the word in various Eng-
lish dialects, and adds] : The two forms, < batler ' and batlet as diminutives of bat^
may be compared with * lancer' (/ Kings^ xviii, 28, ed. 1611), and * lancet* as
diminutive of * lance.* The form * lancet ' is substituted in modem editions of the
Authorised Version. [See also Skeat, s. v. * battledore.']
51. chopt] Wright: That is, chapped; as in Sonn. Ixii, 10: * Seated and chopl
with tand antiquitie.' Both forms of the word were used, the pronunciation being
the same in each case. Cotgrave gives : * Crevasser, To chop, chawne, chap, chinke,
riue, or cleaue asunder.* And in the Authorised Version of Jeremiah ^ xiv, 4 (ed.
161 1 ), we find, * Because the ground is chapt, for there was no raine on the earth.*
51. the wooing] Halliwell: 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 omen of the peas remaining in the husk
were preserved, then presenting it to the lady of their choice. According to Mr
Davy, speaking of Suffolk, * the efficacy of peascods in the affairs of sweethearts is
not yet foi^otten among our rustic vulgar. The kitchen-maid, when she shells green
peas, never omits, if she finds one having nine peas, to lay it on the lintel of the
kitchen-door, and the first clown who enters it is infallibly to be her husband or at
least her sweetheart.' .... * Winter-time for shoeing, peascod-time for wooing,' is an
old proverb in a MS Devon. Gl. But perhaps the allusion in Shakespeare is best
illustrated by the following passage in Browne's Britannia' s Pastorals [B. ii. Song 3,
11. 93-96, ed. Hazlitt — ap, Wright] : * The peascod greene oft with no little toyle
Hee'd seeke for in the fattest fertil'st soile. And rend it from the stalke to bring it to
her, And in her bosome for acceptance wooe her.* [Halliwell cites no authority for
this note, which is also to be found in nearly the same words in Brand's Popular
Antiquities^ ii, 99, ed. Bohn, as noted by Wright.] Whiter (p. 17) quotes the fol-
lowing proverb from Florio's Second Fnttes^ I59i» for ^^ reason that I can discern
other than that the word * peascod ' is common to both passages : * If women were as
little as they are good, A Peascod would make them a gowne and a hood.*
52. peascod] Farmer : In a schedule of jewels in the 15 vol. of Rymer's Foedera^
we find: * Item, two peascoddes of gold with 17 pearles.* Steevens: The ancient
name for peas as they are brought to market. So in Greene's Groundwork of Cony-
catching^ 1 592, * went twice in the week to London, either with fruit or pescods,' &c.
Again, in The Honest Man^s Fortune ^ by Beau, and Fl. : * thou shalt wear gold, feed
on delicates; the first peascods, strawberries, grapes,' &c. [HI, iii, p. 402, ed. Dycc].
Douce : The * peascod * certainly means the whole of the pea as it hangs upon the
stalk. It was formerly used as an ornament in dress, and was represented with the
shell open exhibiting the peas. Skeat : Cod is a husk, shell, bag ; peas-cod^ i. e. pea-
shell, husk of a pea. [Cf. * with leaues like unto the cich pease. It bearcth seed in
certain cods,' Holland's Plinie^ 27th Book, p. 231. — Ed.]
52. from whom] Knight: That is, from his mistress. He took from her two
peascods, that is, two pods. Staunton : Touchstone surely means that he both took
the cods from, and retimied them to, the peascod^ the representative of his mistress.
In like manner he tells us, just before, he broke his sword upon a stone, and bid him,
his imagined rival, * take that.* [Unquestionably Staunton is right. — Ed.]
90
AS YOU LIKE IT
[act II, sc. iv.
cods, and giuing her them againe, faid with weeping
teares, weare thefe for my fake : wee that are true Lo-
uers, runne into ftrange capers ; but as all is mortall in
nature, fo is all nature in loue, mortall in folly.
Rof. Thou fpeak'ft wifer then thou art ware of.
Clo. Nay, I (hall nere be ware of mine owne wit, till
I breake my (hins againft it.
Rof. loue^ loue^ this Shepherds paflion,
S3
55
60
53. cods\ peas Ktly.
55. as all"] all Rowe, Pope, Han.
56. mortall in] mortal to Rowe i.
58, 59. till...it'] One line, Coll.
60. lone, loue] Love, Love I G)ll.
(MS), ii, iii.
60, 61. Prose, Pope+, Mai.
53. cods] Johnson : For * cods ' it would be more like sense to read peasj which
having the shape of pearls, resembled the common presents of lovers. Malone : In
the following passage, however, Touchstone's present certainly signifies not the pea^
but the podf and so I believe the word is used here : ' He [Richard II] also used 2i peas-
cod branch with the cods open, but the peas out, as it is upon his robe in his monument
at Westminster,' — Camden's RemaineSy 1614. The cods and not the/^or were worn.
53> 54« weeping teares] Capell : Here the Poet is wag enough to raise a smile at
the expence of his friend the novelist ; who employs these words seriously in a some-
thing that he calls a sonnet, without once seeing the ridicule of them. [See Rosa>
der's Sonnet, beginning, ' In sorrowes cell,' &c.] Halliwell : This pleonastio
expression is of so extremely common occurrence that there is no necessity for pre-
suming it to have been suggested to Shakespeare by its introduction into Lodge's
Novel. [Hereupon follow the titles of ten works wherein the expression is found.]
56. mortall in folly] Johnson : This expression I do not well understand. In
the middle counties, < mortal,' from mort, a great quantity, is used as a particle of
amplification ; as mortal tally mortal little. Of this sense I believe Shakespeare takes
advantage to produce one of his darling equivocations. Thus the meaning will be,
so is all nature in love abounding in folly. Caldecott : That is, extremely foolish.
Dyce refers to Carr's Craven Glossary: *Mortaly Exceeding, very; "he's mortal
rich," " I'se mortal \i\mgcy" * Staunton : As the commentators appear not to sus-
pect corruption here, the passage probably contains a meaning we have failed to dis-
cover. Schmidt : < Mortal ' is here equivalent to human, resembling man in folly.
[These explanations of < mortal ' in this particular passage are all so mortal weak
that I prefer to agree with Staunton that the meaning is yet to be discovered. If it
were not for Rosalind's reply I should think that we were looking too deep. Yet
Weiss's explanation (p. 113) is ingenious: ' That is. Nature can be foolish in love,
but the folly is mortal, as all the things of Nature are, and will pass away, leaving
love behind.' Therefore he'll have no jibes about it, and Rosalind justly replies,
* Thou speak'st wiser than thou art ware of.' — Ed.]
57) 5 S* ware . . . ware] It seems almost needless to point out that Rosalind means
atuarey and Touchstone means cautious. — Ed. Singer : Perhaps Rosalind takes the
Clown's equivoque seriously, and has in her mind that possession is the grave of love,
which expires in its own folly.
60, &c. Collier (ed. ii) here takes his text from his (MS) Corrector, who, he
ACT II, sc. iv.] AS YOU LIKE IT 91
Is much vpon my fafliion. 61
Clo. And mine, but it growes fomething dale with
mee.
Cel. I pray you, one of you queftion yonM man,
If he for gold will giue vs any foode, 65
I faint almofl to death.
Clo. Holla; you Clowne.
Rof, Peace foole, he's not thy kinfman.
Car. ' Who cals ?
C/o. Your betters Sir. 7^
Cor. Elfe are they very wretched.
Ro/. Peace I fay ; good euen to your friend.
Cor. And to you gentle Sir, and to you all.
Ro/. I prethee Shepheard, if that loue or gold
Can in this defert place buy entertainment, 75
Bring vs where we may reft our felues,and feed :
Here's a yong maid with trauaile much opprefled.
And faints for fuccour. 78
61. mucA vpon] too much on G>ll. 71. are they very\ they are Rowe l
(MS), ii, iii. they are very Rowe ii + . they re very
62, 63. it.,. mee] It grows something Han.
stale with me^ And begins to fail with me 72. Peace] Peace, fool ^ Han.
Coll. ii, iii. good... friend] One line, Qip
64. yon'd] yond Rowe. yon Cap. Steev. Mai. Cald. Knt, Coll.
70. Sir] Om. Han. your] you Ff et seq.
says, ' must have had some foundation for the addition, unless it were a mere inven-
tion ' ; Collier suggests that we have fragments here of an old ballad, wherein, as fai
as lines 60, 61, and ' it grows something stale with me ' of the Folio is concemecb
Dyce (ed. iii, p. 26) agrees with him. His text is as follows :
^Ros. Love, Love ! this shepherd's passion
Is too much on my fashion.
Touch. And mine ; but
It grows something stale with me,
And begins to fail with me.'
Ellis [Early Eng. Pronun.^ p. 949, ^) : Observe that the rhyme [passi-on, fashi-on]
is here an identical one, on the final syllable -on, and that it is not a double rhyme,
like the modem pash-un fash-un, as this would make each line defective by a meas-
ure. PaS'Si'On, fash-i-on were really trisyllables. Allen (MS) ; The 'passion' of
love is love conceived of as something like suffering,
72. your] One of the many instances where, in the Folio, you and your are con-
founded. See Walker, Crit. ii, 190.
77, 78. Abbott, § 403 : Either who is is omitted, *■ Here's a young maid (who is)
with travel much oppressed,' or the nominative (cf. § 399) is omitted before < faints.'
92 AS VOLT LIKE IT [act ii. sc. iv.
Cor. Faire Sir, I pittie her,
And wifh for her fake more then for mine owne, 80
My fortunes were more able to releeue her :
But I am (hepheard to another man.
And do not fheere the Fleeces that I graze :
My mafter is of churlifh difpofitiofi.
And little wreakes to finde the way to heauen 85
By doing deeds of hofpitalitie.
Befides his Coate,his Flockes,and bounds of feede
Are now on fale, and at our fheep-coat now
By reafon of his abfence there is nothing
That you will feed on : but what is, come fee, 90
And in my voice moft welcome fhall you be.
Rof. What is he that fhall buy his flocke and pafture?
Cor. That yong Swaine that you faw heere but ere-
while, 94
82. Jhepheard^ a shepherd Rowe. 87. Coate'\ Cote Han.
85. wreakes"] Ff, Rowe + ,Cald. recks 90, 91, 93. you\ ye Johns.
Han. Johns, et cet.
85. wreakes] Steevens: That is, heeds, cares for. So in Ham. I, iii, 51 : *And
recks not his own rede.' [Perhaps from the spelling here, and in Ham., where it is
reakes in the Qq and reaks in the Ff, we may, perhaps, infer that in pronunciation the
sound of e was longer then than it is now. The assonance in Ophelia's speech would
be thereby certainly more decided : * and reeks not his own reed.^ — Ed.]
86. hospitalitie] Wordsworth (p. 218) : Flowing from a kindly and consider-
ate disposition, the duty of hospitality is one which the Bible, we know, frequently
enjoins and commends. See i Peter, iv, 9; Hebrews, xiii, 2; Romans, xii, 13. But
there is a passage more solemn and impressive than any of these, spoken by our Lord
Himself w^ith reference to the great day of account : * I was a stranger, and ye took
me not in,* Matt., xxv, 43 ; which I cannot help thinking was present to our poet's
mind when he made Corin [speak these words].
87. Coate] Wright: Cotgravehas: * Cayenne de bergter: a shepheards cote; a
little cottage or cabine made of tiuiies, straw, boughes, or leaues.'
87. bounds of feede] Caldecott : That is, range of pasture.
91. voice] Johnson : That is, as far as I have a voice or vote, as far as I have
power to bid you welcome. [* Fortinbras .... has my djring voice,* Ham. v, ii, 343.]
92. What is he] For many other instances of the use of this phrase, see Abbott,
$ 254, where there is the thoughtful remark that ' in the Elizabethan and earlier
periods, when the distinction between ranks was much more marked than now, it
may have seemed natiu-al to ask, as the first question about any one, " Of what condi-
tion or rank is he ?" In that case the difference is one of thought, not of grammar.*
92. shall] Abbott, § 315, paraphrases this by is to, and classes it with I, i, 126:
* He that escapes me shall acquit him well.* It is difficult to distinguish these shades
of meaning. To me the present 'shall' is not the same as Charles's 'shall.' Here,
I think, it is simple friturity. — Ed.
ACT II. sc. iv.] AS YOU LIKE IT 93
That little cares for buying any thing. 95
Rof. I pray thee, if it ftand with honeflie,
Buy thou the Cottage, pafture,and the flocke,
And thou (halt haue to pay for it of vs.
CeL And we will mend thy wages :
I Hke this place, and willingly could lOO
Wafte my time in it.
Cor. Affu redly the thing is to be fold :
Go with me, if you hke vpon report,
The foile, the profit, and this kinde of life,
I will your very faithfuU Feeder be, 105
And buy it with your Gold right fodainly. Exeunt
97. paflure\ and the pajiure F^F^. 100, loi. /... Wajle\ One line, Rowe
99-101. Two lines, ending //ar^...//, ii + .
Cap. et seq.
96. honestie] In the wide range of meanings which this word bears, extending
from chastity to generosity y the meaning which best suits the present context is, I
think, honour^ that is, honourable dealing towards Silvius. — Ed.
99, loi. Unquestionably, Capell's division is better than the Folio's, which in fact
is not rhythmical at all. At the same time, an extra syllable in the third foot is
objectionable ; * And we | will mend | thy wag/rj .* | I like | this place.' To be sure,
if the line must be of five feet, we may make it a little smoother by reading wage.
But the thought closes so completely with * wages ' that I would close the line with it,
and put a full stop after it. Let the next two lines divide at * waste ' : * I like | this
place, I and will | ingly | could waste || My time in it.' AH of which, ailer all, is
merely scansion for the eye. An ear instinctively rhythmical decides such divisions
for itself. — Ed.
loi. Waste] That is, simply spends pass, as in Mer. of Ven. Ill, iv, 14: *G)m-
panions That do converse and waste the time together.' See II, vii, i^i, post: * And
we will nothing waste till you retiu-n.'
105. Feeder] Dyce: A servant, a menial; as in Tim. II, ii, 168, *our offices
.... oppressed With riotous feeders,' and in Ant. <5r* Cleop. Ill, xiii, 109: * By one
that looks on feeders.' Walker {Crit. i, 311) : Qu. factor f Feed occurs thirteen
and sixteen lines above. * \o\ix factor^ i. e. your agent in buying the farm. [Dyce
(ed. iii) notes that Walker thus queries, and adds, 'wrongly, I believe.' Walker
must have overlooked the instances of the use of * feeder ' cited by Dyce.] Neil :
Perhaps the word ought to be Feodar or Fedary, male representative undertaking the
suit and service required by the superior from those holding lands in feudal tenure
under him.
106. Blackwood's Magazine (April, 1833) : How fortunate that the prettiest
cottage in or about the Forest is on sale I No occasion for a conveyancer. There
shall be no haggling about price, and it matters not whether or no there be any title-
deeds. A simple business, as in Arcadia of old, is buying and selling in Arden.
True that it is not term-day. But term-day is past, for mind ye not that it is mid-
summer?
/•
94 AS YOU LIKE IT [act ii. sc. t.
Scena Quinta.
Enter ^ Amy ens ^ laqueSy & others.
Song.
Vnder the greene wood tree,
who loties to lye with mee^
And tume his merrie Note^ 5
vnto the fweet Birds throte :
Come hither^ come }uther^ come hither :
He ere Jhall he fee no enemie^
But Winter and rough Weather.
laq. More, more, I pre'thee more. lO
Amy. It will make you melancholly Monfieur laques
laq. I thanke it : More, I prethee more,
I can fucke melancholly out of a fong, 13
Scene changes to a desart Fart of the Coll. ii, iii, Dyce iii. turn F^F^ et cet
Forest. Theob. ^ %. he] we Cap. (corrected in Errata).
3. Vnder] Ami. Under Cap. et seq. Two lines, Pope et seq.
greene zooodj greenwood F . green- 8, 9. Marked as a Chorus. Cap.
hood F^, Rowe i. 10, 14. pre' thee"] prethee Ff.
5. tume] F,. tune Rowe ii + , Cap. 12-14. Prose, Pope et seq.
5. tume] Malonb in support of the change to tun* cites T\i)o Gent. V, iv, 5 :
And to the nightingale's complaining note Tune my distresses/ &c. Steevens : The
old copy may be right. To turn a tune or a note is still a current phrase among vul-
gar musicians. Whiter corroborates Steevens : ' To turn a tune in counties of York
and Durham is the appropriate and familiar phrase for' [correct singing]. Singer :
That < turn ' is right appears from the following line in Hall's Satires^ Bk. vi, s. i [p.
157, ed. Singer] : < Whiles threadbare Martiall turns his merry note.' Collier (ed.
ii) : It is altered to tune in the (MS). It is misprinted turn in Hall's SeUires. Dycb
(Strictures^ &c., p. 69) : There is no reason to suspect a misprint in the line from
Hall's Satire, [Dyce, however, changed his opinion when he printed his third
edition ; he there says that turns in this line from Hall] ' is manifestly an error for
tunes; so again in 7^ Two Gent, IV, ii, 25, the Second Folio makes Thurio say to
the Musicians : « Let's tume^* &c. To " turn a note " means only to ** change a
note"; compare Locrine^ 1595 : <<when he sees that needs he must be prest, Heele
tume his note and sing another tune." ' Wright, after quoting this last note of
Dyce's, adds : Even granting this, there appears to be no absolute necessity for change
in the present passage, for < turn his merry note ' may mean adapt or modulate his
note to the sweet bird's song, following its changes.
7. Come] Fnnn the references in the Index to Abbott, it is to be inferred that this
* come ' is considered by him as a subjunctive used optatively or imperatively.
ACT n, sc. v.] AS YOU LIKE IT 95
As a Weazel fuckes egges : More, I pre'thee more.
Amy. My voice is ragged, I know I cannot pleafe 15
you.
laq. I do not defire you to pleafe me,
I do defire you to fmg :
Come, more, another ftanzo : Cal you'em ftanzo's ?
Amy, What you wil Monfieur laqtus. 20
laq. Nay, I care not for their names, they owe mee
nothing. Wil you fmg ?
Amy, More at your requeft, then to pleafe my felfe.
laq. Well then, if euer I thanke any man, He thanke
you : but that they cal complement is like th'encounter 25
of two dog- Apes. And when a man thankes me hartily,
15. ragged'\ rugged Rowe + , Cap. 19. Jtanzo . . .Jianzo^s] Ff, Rowe + ,
17, 19. Prose, Pope et seq. Cam. Wh. ii, Huds. stanza.,. stawuu
19. Qmtff more] Come, come Rowe + . Cap. (conj.) el cet.
^em\ them Mai. 25. complement'] compliment Pope.
compliments Theob. "Warb. Johns.
15. ragged] Malone: That is, broken and unequal. [For a dozen other instances
In Shakespeare where ' ragged ' is thus used, see Schmidt, s. v. 3.]
19. stanzo] In Sherwood's English and French Dictionaries appended to Cot-
grave, 1632, we find, <A stanzo (staffe of verses) Stance. A stanzo (of eight verses)
Octastique* On turning to Cotgrave, under Stance we find, among other meaningg.
also, a staazo, or stafife of verses.* In the only other place where Shakespeare use«
the word. Love's Lab. L. IV, ii, 99, it is printed, according to the Cam. Ed., stanse
FjQ,, stanza F,F^F^, and stauze Q, (of course a misprint for stanze). Jaques was
I4>parently a little doubtful as to the correctness of the term, which I think he used
in the sense of the second definition given by Sherwood. If we divide ' Heere shall
he see no enemie ' into two verses, as every editor has divided it since Pope, the
song will be an Octastique^ which Cotgrave again defines, ' Octostique : A staffe, or
Stanzo of eight verses.' — Ed.
21. names] Used in a classical, legal sense. Caldecott finds the allusion to the
Latin phrase, nomina facere^ which we all know means to *■ set down, or book the
items of debt in the account-book,' as the definition reads in Andrews's Lexicon,
But it seems to me that it is simpler to suppose that Jaques refers merely, as he says,
to 'the names,* for which the Latin is plain nomina. In Cooper's Thesaurus^ I573f
the Dictionary which Shakespeare probably used (we are told that Queen Elizabeth
used it), the second definition of nomina is ' the names of debtes owen.' Here, it is
possible, Shakespeare may have found the allusion which Jaques makes. — Ed.
25. that] For the omission of the relative, see Abbott, § 244, or Shakespeare passim,
26. dog- Apes] Douce (i, 298) : Bartholomxus, speaking of apes, says : < Some
be called cenophe ; and be lyke to an hounde in the face, and in the body lyke to an
ape.* — Lib. xviii, c. 96. Wright : Topsell {^History of Beasts^ p. 8) says : * Cyno-
oephales are a kind of Apes, whose heades are like Dogs, and their other parts like
96 AS YOU LIKE IT [act ii, sc. v.
me thinkes I haue giuen him a penie, and he renders me 27
the beggerly thankes. Come fmg ; and you that wil not
hold your tongues.
Amy, Wei, He end the fong. Sirs, couer the while, 30
the Duke wil drinke vnder this tree; he hath bin all this
day to looke you.
laq. And I haue bin all this day to auoid him :
He is too difputeable for my companie :
I thinke of as many matters as he, but I giue 35
Heauen thankes, and make no boaft of them.
Come, warble, come.
Song. Altogether heere.
Who doth ambition JItunne y
and hues to Hue Vth Sunne: 40
28. not'\noi,Yi. 38. Altogether heere] Om. Rowe + ,
31. drinke] dine Rowe + , Cap.
33-37- Prose, Pope et seq. 40. Hue] live F,F^. lye F^, Rowe + .
34. difputeable] di/putable F^.
28. beggerly] That is, beggar-like. The thanks are neither paltry nor mean ; but
the reverse. — Ed.
30. couer] Staunton: That is, prepare the table; equivalent to our May the
cloth * ; compare Mer. of Ven. Ill, v, 55.
31. drinke] Capell (p. 58) : The modems have dine instead of * drink,' but bid-
ding the attendants * cover' was telling them the Duke intended to dine there;
' drink ' tells them something more, that he meant to pass his afternoon there, under
the shade of that tree.
32. looke you] Dyce (ed. iii) : I may notice that this is equivalent to * look for
you.' Compare Merry Wives ^ IV, ii, 83 : * Mistress Page and I will look some linen
for your head.' [For many other instances of this omission, see Abbott, § 200.]
34. disputeable] Malone: That is, disputatious. Walker has a chapter (No.
xxix, Crit. i, 183) on examples of adjectives in -able and -ible^ both positive and
negative ones, which are frequently used by old writers in an active sense. Sec also,
Abbott, § 3.
38. Altogether heere] It is almost needless to remark that this is a stage direc-
tion ; and the stage direction of a play-house copy. Some of the early editors, even
Capell, omit it altogether here. See Roffe, in Appendix, * Music,' p. 434.
40. liue] Tollet : To * live i' th' sun,' is to labour and * sweat in the eye of
Phoebus,* or Tjitam agere sub dio; for by lying in the sun, how could they get the food
they eat ? Capell (p. 58) : To lye i* the sun is a phrase importing absolute idleness,
the idleness of a motley (see post, II, vii, 17), but Mive i' the sim' imports only a
living in freedom ; a flying from courts and cities, the haunts of * ambition,' to enjoy
the free blessings of heaven in such a place as the singer himself was retir'd to ;
whose panegyrick upon this sort of life is converted into a satire by Jaques, in a very
excellent parody that follows a few lines after. Caldecott : Othello refers to his
ACT II, sc. v.] AS YOU LIKE IT 97
Seeking the food he eates^ 41
and plea^d with what he gets :
Come hither^ come hither ^come hitfiery
Heere Jhall he/ee.&c.
laq. He giue you a verfe to this note, 45
That I made yefterday in defpight of my Inuention.
Amy. And He fing it.
Amy. Thus it goes.
If it do come to pajfe^ thai any man tume AJJe :
Leaning his wealth and eafe^ 50
A Jlubbome will to pleafe^
Ducdame , ducdame , ducdame : 52
44. Heere] Cho. Here Gip. 48. Amy.] laq. Ff et seq.
he] you Rowe. 49. Two lines, F^F^ ct seq.
&c.] no enemy, But Winter and 52, 55. Ducdame, ducdame, ducdame
rough Weather. F^F^ et seq. ,„Ducdame\ Due ad me^ Due ad me,
45. 46. Prose, Pope et seq. Due ad me.,. Due ad me Han. Wh. Mai.
* unhoused, free condition.' White (ed. i) : To * live i* the sun * was to live a profit-
less life. Wright : A 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, ii, 67) :< I am too much i' the sun * ; and Beatrice in
Much Ado, II, i, 331 : ' Thus goes every one to the world but I, and I am sxm-bumt,'
that is, exposed and neglected, like the bride in Canticles, \, 6. See also TVo. &*
Cress. I, iii, 282.
46. Inuention] Moberly : As imagination would do nothing for me, I spited it
by the following choice composition.
52. Ducdame] Johnson : Hanmer, very acutely and judiciously, reads due ad
me, that is, bring him to me. Capell (p. 58) : The words * G>me hither ' are LAtin*
iz'd by the composer; but not strictly, for then his word had been Hucdame; and the
Latin words crouded \sic'\ together into a strange single word of three syllables,
purely to set his hearer a staring ; whom he bambouzles still further, by telling him,
< 'tis a Greek invocation.' The himiour is destroyed, in great measure, by decom-
poxmding and setting them right, and giving us due ad me separately. Farmer : If
due ad me were right, Amiens would not have asked its meaning, and been put off
with a * Greek invocation.^ It is evidently a word coined for the nonce. We have
here, as Butler says, ' One for sense, and one for rhyme* Indeed, we must have a
double rhyme, or this stanza cannot well be sung to the same tune with the former. I
read ^Ducdamt, Ducdami, Ducdam^, Here shall he see Gross fools as he, An' if he
will come to Ami.* That is, to Amiens. Jaques did not mean to ridicule himselt
Steevens : That Amiens, who is a courtier, should not xmderstand Latin, or be per-
suaded it was Greek, is no great matter for wonder. ' In confirmation of the old read-
ing, however, Dr Farmer observes to me, that, being at a house not far from Cam-
bridge, when news was brought that the hen-roost was robbed, a facetious old squire
who was present immediately sung the following stanza, which has an odd coincidence
7
98 AS VOC/ LIKE IT [act ii, sc. v.
[Ducdame, ducdame, ducdame]
with the ditty of Jaques : < Damky what makes your ducka to die ? Duck^ duck, duck.
— Danit, what makes your chicks to cry ? Chuck, chuck, chuck.' < Ducdkme ' is a
trisyllable. Whiter tells us he was ' favoured* with one or two more stanzas of the
same song which Dr Farmer thinks sheds so much light on this passage, and Whiter,
in turn, < favours ' us with them, though it is not easy to see how Shakespearian criti-
cism is advanced by learning that the cause of the ducks' death was ' eating o' Polly-
wigs,' howsoever valuable the fact may be therapeutically. Be this, however, as it
may, the stanzas seem to have imparted aid to Whiter, who says : ' In the foregoing
stanzas it is of no consequence, either as to the sense or the metre, whether '* Dame "
be read in its usual way or whether we pronounce it Dam^, with the accent on the
last syllable. They are all, however, manifestly addressed to the Dame, the good
housewife of the family, xmder whose care we may suppose the poultry to be placed ;
and it may be observed that the Ducks are particularly specified on accoimt of the
alliteration with Dame. I therefore see no difficulty in the derivation of the word
« Ducdame," which has so much embarrassed our conmientators. What is more
natural or obvious than to suppose Due Dame or Dtu Dami to be the usual cry of
the Dame to gather her Ducks about her ; as if she should say, " Ducks, come to
your Dame," or " Ducks, come to your Damfc." .... The explication here given of
this passage is the only one which at all properly corresponds with the context.' In
justice to Whiter it must be said that he appears conscious of the ridiculousness of
such shallow profundity by the final remark : < If Shakespeare is to be explained,
neither the writer nor the reader should become fastidious at the serious discussion of
such trifling topics.' Knight : It was not in the character of Jaques to talk Latin in
this place. He was parodying the < Come hither ' of the previous song. The con-
jecture, therefore, that he was using some country call of a woman to her ducks
appears much more rational than his Latinity. Collier: Hanmer's alteration is
probably right ; but due ad me being harsh, when sung to the same notes as its trans*
lation < Come hither,' it was corrupted to duc-da-me, a trisyllable, which ran more
easily. Farmer observed that ' if due ad me were right, Amiens would not have
asked its meaning.' Why not, if Amiens be supposed not to understand Latin?
When Jaques declares it to be ' a Greek invocation,' he seems to intend to jeer Amiens
upon his ignorance. [Collier adds, in his second edition] : We may conclude, with
tolerable certainty, that it was the burden of some old song, although none has been
pointed out that precisely agrees with * ducdame ' or due ad me. Halliwell (5!^.
Soe. Papers, 1^44) ^ol. i, p. 109) : Hanmer's change is forced and unnecessary, I
admit, but not quite so absurd as to suppose Jaques was using some country call of a
woman to her ducks I have recently met with a passage in an uncollated MS
of the Vision of Piers Plowman in the Bodleian Library, which goes far to prove
that Duedami is the burden of an old song, an explanation which exactly agrees with
its position in the song of Jaques. The passage is as follows : < Thanne set ther some,
And sunge at the ale. And helpen to erye that half akre With Dusadam-me-me.^'^
MS Pawl. Poet, 137, f. 6. To show that this is evidently intended for the burden
of a song, we need only compare it with the corresponding passage in the printed
edition : 'And holpen ere this half acre With How, trolly lolly. ^-^Piers Ploughman,
ed. Wright, p. 124. Making allowances for the two centuries which elapsed between
the appearance oi Piers Ploughman and As You Like It, is there too great a difference
between Dusadam-me-me and Duc-da-me to warrant my belief that the latter is a
legitimate descendant of the more ancient refrain ? At all events, it must be borne
ACT II, sc. v.] AS YOU LIKE IT 99
[Ducdame, ducdame, ducdame]
in mind that the commentatora have not produced any old word equally near it in
their dissertations on its meaning. This word may also possibly be intended by
Dnue! dmee ! dmee ! in Amim's Nest of Ninnies {Sh, Soc. Reprint), p. 32. Mr
Collier, however, thinks it * most likely an abbreviation of Dear me P [With a few
verbal alterations Halliwell repeated this in his edition.] Staunton : After all that
has been written in elucidation of * ducdame,' we are disposed to believe the < invo-
cation,' like the Qown's : * Fond done, done fond ' in All's Welly is mere unmeaning
babble coined for the occasion. Dyce : The attempts made to explain this * burden '
are, I think, alike imsatisfactory. A. A. {Notes dr* Qu. 2d S., viii, Oct. 8, '59) : Is
it not literally as written due dd m^, ' lead him from me ' ? Amiens has been describe
ing the generous soul ' who does ambition shun,' and welcomes him with a < Come
hither.' Jaqnes describes the opposite chsuracter, and goes on with his parody ' keep
him from me,' instead of ' come hither.' Da is the Italian preposition from, answer-
ing to the Latin a, ab, ahs. Tregeagle {^Ibid. 5th S., x, July 20^ '78) : It seems not
improbable that this word may be intended to represent the twang of a guitar. [In
Notes and Qu. 5th S. ix, June 29, '78, Dr Mackay has a note which was afterwards
sul)stantially repeated and enlarged in his Glossary of Obscure Words, &c., 1S87.
From the latter I extract the following :] Amiens, puzzled by the phrase, asks Jaques
what it means. Jaques replies, ' 'Tis a Greek invocation to call fools into a circle.'
By * Greek ' he appears to have meant Pedlar's Greek, the popular name for the cant
language of the beggars and gypsies of his day, which is not wholly disused in our
own. .... No one has discovered or even hinted at the ' circle ' to which Jaques
alludes. Perhaps the old game of Tom Tidler's Groimd may throw some light on
the matter. [After stating that Brewer in his Dictionary of Phrase and Fable main-
tains < Tom Tidier ' to be a corruption of Tom th* Idler, Dr Mackay continues :] This
derivation has hitherto passed muster ; but the true derivation is from the Keltic, and
proves the game to have been known to British children before the Saxon and Dan-
ish irruptions and conquest Tom signifies ' hill ' or mound, a word that enters into
the composition of the names of many places in the British Isles ; and tiodlach, gift,
offering, treasure; so that Tom-tiodlach, corrupted by the Danes and Saxons into
Tom-tidier, signifies the hill of gifts or treasure, of which the players seek to hold or
to regain possession. It was the custom for the boy who temporarily held the hill or
tom to assert that the ground belonged to him of right, and dare the invaders to dis-
possess him by the exclamation of ^Duc da mk.^ This phrase has puzzled commenta-
tors quite as much as the name ' Tom Tidier ' has done. The phrase, however,
resolves itself into the Gaelic dutkaich (the / silent before the aspirate, pronoxmced
duAaic), signifying a country, an estate, a territory, a piece of land; da or do signify-
ing to, and mi, me — i . e. this territory or ground is to me, or belongs to me ; it is my
land or estate. This old British phrase continued to be used in England by children
and illiterate people long after the British language had given way to the Saxon Eng-
lish, and was repeated by boys and girls in the game now called ' Tom Tidler's
Ground ' so lately as forty years ago, when I heard it used myself by children on the
Links of Leith and the Inches of my native city of Perth A correspondent of
the Pall Mall Gazette, signing himself < Welshman,' says, ' Qearly, the critics are at
fault in their endeavour to give a reasonable rendering to <* ducdam^." Admittedly,
it bad its origin in a prehistoric game Whether Shakespeare knew it to l)e good
Welsh or not is little to the purpose. However, there is no doubt he did In
point of fact Jacques was but verbally repeating the selfsame invitation which ....
100 AS YOU LIKE IT [act ii, sc. v.
Heere Jhall he fee ^grojfe fooles as he^ 53
And if he will came to me.
Amy. What^s that Ducdame ? 55
laq. 'Tis a Greeke inuocation, to call fools into a cir-
cle. He go fleepe if I can : if I cannot; He raile againfl all
the firft borne of Egypt 58
53. Two lines, Pope et seq. 54. me] Ami. Fanner, Stcev.
54. And] An Cap. 56. inuo€aH(m\ invocarion F^.
had been twice given in the vernacular, *' G}me hither." .... For the " Greek " ren-
dering which accompanied it was good, honest Welsh, as nearly as the Saxon tongue
could frame it. Its exact Cambrian equivalent is Dewch da mi, ** Come with (or to)
me." It is jargon no longer. In early times the Sassenach, no doubt, often heard
this " Challenge " (" Come, if you dare I") shouted to him by the Kymri from the
hilltop or the embattled crag. Hence it was perpetuated in the mimic warfare of
their children's game.' * The Kymric derivation,' adds Dr Mackay, < is ingenious, but
does not meet the case so clearly and completely as the Gaelic' In JV^p/ts 6r* Qu.,
5th S., 5 Oct '78, V. S. Lean suggests Duct-hmi; ami being the abbreviation for
Amiens as well as French for friend. [The phrase having been thus proved, satisfac<
torily to the provers, to be not only Latin, but Italian, and French, and Gaelic, and
Welsh, and Greek (surely Jaques ought to know), and a < twang,' we are prepared for
the sensible and conclusive note which I have reserved for the last.] Wright : It is
in vain that any meaning is sought for in 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 Cot-
grave, s. V. Orgues : * Dire d'orgues, vous dites d'orgues. You say blew ; how say
you to that; wisely brother Timothie ; true Roger; did am did am.' .... Mr Ainger
has suggested to me that we should read : ^Ducd(/mf, Ducdi/me^ Ducd</me^ to rhyme
with 'An W he wilK come to^ me.'
56. to call fools into a circle] for the purpose of etymologically and linguistic-
ally investigating the meaning of ' Ducdame,' says Moberly, dryly.
58. first borne of Egypt] Grey (i, 174) : Alluding to Exodus^ xi, 5. Johnson:
A proverbial expression for highborn persons. Nares: Perhaps Jaques is only
intended to say that if he cannot sleep, he will, like other discontented persons, rail
against his betters. Wordsworth (p. 70) : One feels somewhat at a loss to deter-
mine whether of the two pieces of criticism [Grey's and Johnson's], though very dif-
ferent in kind, is the less satisfactory. The play in which this passage occurs turns
upon two incidents, in both of which an eldest brother is mainly concerned, in the one
as suffering, in the other as doing, injury. And the reflection, therefore, naturally
presents itself to the moralising Jaques, that to be a first-born son is a piece of good
fortune not to be coveted now, any more than it was in the days of Pharaoh, when all
the first bom of Egypt were cut off, but rather to be * railed at' In Act I, Sc. i,
Orlando says to Oliver, ' The courtesy of nations allows you my better in that you are
iht first bom* If it be objected that Jaques was not yet aware of what had hap-
pened to Orlando, still, I think, the poet might have put the sentiment into the mouth
of such an one as Jaques, to be as a kind of waking dream, half experimental in
regard to what he already knew, half prophetical of what he would soon discover ;
but, at all events, the reference to * the old Duke,' wVo had been * banished by his
ACT II, sc. vi.] AS YOU UKE IT loi
Amy. And He go feeke the Duke,
His banket is prepared. Exeunt 60
Scena Sexta.
Enter Orlando^ & Adam.
Adam. Deere Mailer, I can go no further :
O I die for food. Heere lie I downe.
And meafure out my graue. Farwel kinde mafter.
d?r/.Why how now Adam} No greater heart in thee: 5
Liue a little, comfort a little, cheere thy felfe a little.
I-21. Ftose, Pope et seq. 6. com/ort'] comfort thee Anon. conj.
(ap. Cam. £d.).
younger brother, the new Duke,' will hold good. And he * rails at ' him, not only as
showing sympathy, after his quaint manner, with the old Duke's banishment, but as
reflecting upon his own folly in becoming yoluntarily a partaker of the banishment,
and thereby forfeiting all his 'lands and revenues' to the usurper; as he had sung
just before in the yerse, which (he says), < I made yesterday in despite of my inven-
tion ' : ' That any man turn ass Leaving his wealth and ease A stubborn will to please^
Here shall he see. Gross fools as he. An if he will come to nu*
60. banket] Gifford (Massinger's City Madam^ II, i, p. 29) : A ' banquet '
was what we now call a dessert; it was composed of fruit, sweetmeats, &c., ' Your
citizen is a most fierce devourer, sir, of plumbs ; six will destroy as many as might
make A banquet for an army.' — The Wits. The banquet was usually placed in a sepa-
rate room, to which the guests removed as soon as they had dined ; thus, in The
Unnalural Combat^ Beaufort says (III, i) : < We'll dine in the great room, but let the
musick And banquet be prepared here.' The common place of banqueting, or of eat-
ing the dessert, among our ancestors was the garden-house, or arbour, with which
almost every dwelling was once furnished ; to this Shallow alludes in 2 Hen, IV: V,
iii, 2. [Sec Rom, 6r* Jul, I, v, 120. Dyce refers to Tam, the Shr. V, ii, 9: *My
banquet is to close our stomachs up After our great good cheer.']
2, 3. Walker {Crit. i, 18) divides these lines, which, he says, 'the Folio prints as
verse in a scrambling sort of way,' at ' O,' and reads : ' I die, I die for food. Here
lie I down.' [Walker has a chapter {Crit, ii, 141) on the 'Omission of Repeated
Words.'] Dyce (ed. iii) quotes Walker, and adds : But the speech which imme-
diately follows this, and which is stark prose, is so printed in the Folio as to look
like verse. [See note, line 21.]
4. grave] Steevens: So in Rom. 6;* Jul. Ill, iii, 70: 'fall upon the ground,
.... Taking the measure of an unmade grave.'
6. comfort] Wright : We must either take ' comfort ' as equivalent to ' be com-
forted ' or ' have comfort,' or else regard ' thyself as the object to ' comfort ' as well
as ' cheer.' Alxan (MS) : I suppose ' comfort ' may be used absolute, just as ' cheer
loa AS YOU LIKE IT [act ii. sc. vi.
If this vncouth Forreft yeeld any thing fauage^ 7
I wil either be food for it, or bring it for foode to thee :
Thy conccite is neerer death, then thy powers.
For my fake be comfortable, hold death a while lO
At the armes end : I wil heere be with thee prefently,
And if I bring thee not fomething to eate,
I wil giue thee leaue to die : but if thou died
Before I come, thou art a mocker of my labor.
Wei faid, thou look'ft cheerely, 15
And He be with thee quickly : yet thou lieft
In the bleake aire. Come, I wil beare thee
To fome fhelter,and thou (halt not die
For lacke of a dinner,
If there Hue any thing in this Defert 20
Cheerely good Adam. Exeunt
II. ktert it] it ktre Rowe+, Cap. Vur. Odd. Sing. Sbu Kdj.
Mai. I>]rce iii, Hods. 15. dUertfy] dkeerify Reed, Var.
13. / wii] ru Pope4^, MaL SteeT. 'ai.
up * is. It is, boweTer, in finvow of die anoDymoos emendation, < ocmibit tbee ' (Cam.
Ed.), that the tktt may have been proooimced like tee {mmre £h*rmco^ as Walkersajs),
and then die second / was drop! in pronunciation, as in * aU bat mariners,' Tem^ I,
U, aia
4^ cooceite] Dycb : Conception, thoo^it, imagination, fimcj.
la b« coKifortnblt] Caldbooit: Thtk is, be oomibrted, become sosoeptible of
comnit.
It. lM«f« b«] Let Walker's chapter on the Dram^mitimt tf Wtnk {GriL n, 246)
widi its king list of examples be rend and pondered, and after dial there will be no
heckation, I think, in deciding dial we have an imstancr of transposkkm here. See
Text. Notes.— £ix
II. pf fen t^y] Abmtt, $ 59: Eq^sdvak^ to aT Mr /noMf Ham^dtmut^wHaatii
«( as now, *soon, bait mti at once.*
\%. W^Mid] Colusr: This was often xatAkK^WtX dtme: WHm(ed.i):
BatOriandoseemstoiefartowh^hehiBBSidf hassaid. [C£ 0^1.11,1,192.]
SI. The last hae of dtts Sccm b, in &e Folio, &e last line of the page, aarf I
fferai^svipectthgtthedinaonmioYcne of wh^ Dipce calb <«aik pnne,*isdne
SH^p^Tto &e eAft of the Cffwsl^as to sprend oait the fines m order to mead the
nec<«ri^ of hanag Ae he ading of n Scene at &e foot of &e page, that s^ te
iag^S^vMi S(^M)MM mcK^ with, pedttps not n fine of
ACT II. sc. vii.] AS YOU LIKE IT 103
Scetia SepHma.
Enter Duke Sen.& Lordy like Out-lawes.
Du. Sen. I thinke he be transformM into a bead,
For I can no where finde him, like a man.
I .Lord. My Lord, he is but euen now gone hence,
Heere was he merry, hearing of a Song. 5
Du. Sen. If he compa6l of iarres, grow Muficall,
We (hall haue fliortly difcord in the Spheares :
Go feeke him, tell him I would fpeake with him.
Enter laques.
I. Lard. He faues my labor by his owne approach. 10
Du. Sen. Why how now Monfieur, what a life is this
That your poore friends muft woe your companie,
What, you looke merrily. 13
1. Out-Iawes] out-Iawes Ff. 9. Enter...] After line 10, Dyce, Sta.
A table set out Rowe. 13. lVhat^'\ And cannot have V/
2. be\ is Pope + . IFka/y Cap.
2. think he be] See Abbott, § 299, for instances of * be ' used after yerbs of think-
ing. The standard example, to which all others might be referred, is that mnemonic
line : ' I think my wife de honest, and thinh she is not,' 0/h. Ill, iii, 443. — Ed.
4. euen now] Abbott, § 38 : *£ven now ' with us is applied to an action that has
been going on for some time and stU/ continues, the emphasis being laid on ' now.'
In Shakespeare the emphasis is often to be laid on ' even,' and ' rven now ' means
' exactly or only now,' i . e. * scarcely longer ago than the present'
5. hearing of] See II, iv, 45 or Abbott, § 178.
6. compact] Steevens: That is, made up of discords. Dyce: Compacted,
composed.
7. Spheares] See Mer. of Ven. V, i, 74 and notes in this edition, where the music
of the spheres is discussed. Wright : Compare Batman vppon Bartholome (ed.
1582), fol. 123, b : 'And so Macrobius saith : in putting & mouing of the roundnesse
of heauen, is that noyse made, and tempereth sharpe noyse with lowe noyse, and
maketh diuers accordes and melodie : but for the default of our hearing, and also for
passing measure of that noyse and melodie, this harmony and accord is not heard of ▼&.'
13. The comma at the close of the preceding line led Capell to suppose that the
sentence was not complete ; he thereupon supplied the omission (see Textual Notes),
and thus justified the additiom in his notes : < Which circumstance [the comma after
'company'] alone indicates an omission; but it further appears from the sense, if a
little attended to : For what great crime is it, that Jaques must be woo^d for his com-
pany ? but that he makes his friends woo it, and won't let them have it after all, is an
accusation of some weight The words now inserted carry this charge.'
I04 AS YOU LIKE IT [act ii, sc. viu
laq. A Foole, a foole : I met a foole i'th Forreft,
A motley Foole (a miferable world :) 15
14. /ooie J 'M] /o/ Vth F^. 15. warld'\ varUt Han. Warb.
15. A motley Foole] Douce (ii, 317): The costume of the domestic fool m
Shakespeare's time was of two sorts. In the first of these the coat was motley or
parti-coloured, and attached to the body by a girdle, with bells at the skirts and
elbows, though not always. The breeches and hose close, and sometimes each leg
of a different colour. A hood resembling a monk's cowl, which, at a very early
period, it was certainly designed to imitate, covered the head entirely, and fell down
over part of the breast and shoulders. It was sometimes decorated with asses' ears,
or else terminated in the neck and head of a cock, a fashion as old as the fourteenth
century. It often had the comb or crest only of the animal, whence the term cocks-
comb or coxcomb was afterwards used to denote any silly upstart This fool usually
carried in his hand an official sceptre or bauble, which was a short stick ornamented
at the end with the figure of a fool's head, or sometimes with that of a doll or puppet.
To this instrument there was frequently annexed an inflated skin or bladder, with
which the fool belaboured those who offended him or with whom he was inclined to
make sport ; this was often used by itself, in lieu, as it would seem, of a bauble
It was not always filled with air, but occasionally with sand or pease In some
old prints the fool is represented with a sort of flapper or rattle ornamented with bells.
It seems to have been constructed of two round and fiat pieces of wood or paste-
board, and is, no doubt, a vestige of the crotalum used by the Roman mimes or
dancers. This instrument was used for the same purpose as the bladder, and occa-
sionally for correcting the fool himself whenever he behaved with too much licen-
tiousness In some old plays the fool's dagger is mentioned, perhaps the same
instrument as was carried by the Vice or buffoon of the Moralities ; and it may be as
well to observe in this place that the domestic fool is sometimes, though it is presumed
improperly, called the Vice. The dagger of the latter was made of a thin piece of
lath, and the use he generally made of it was to belabour the Devil. It appears that
in Queen Elizabeth's time the Archbishop of Canterbury's fool had a wooden dagger
and a coxcomb The other dress, and which seems to have been more common
in Shakespeare's time, was the long petticoat. This originally appertained to the
idiot or natural fool, and was obviously adopted for the purpose of cleanliness. Why
it came to be used for the allowed fool is not so apparent. It was, like the first, of
various colotus, the materials often costly, as of velvet, and guarded or fringed with
yellow. A manuscript note in the time of the G)mmonwealth states yellow to have
been tht/ooPs colour. This petticoat dress continued to a late period, and has been
seen not many years since in some of the interludes exhibited in Wales. But the
above were by no means the only modes in which the domestic fools were habited.
The hood was not always surmounted with the cockscomb, in lien of which a single
bell, and occasionally more, appeared. Sometimes a feather was added to the comb.
.... A large purse or wallet at the girdle is a very ancient part of the fool's dresflu
Tarlton, who personated the clowns in Shakespeare's time, appears to have worn it.
.... We may suppose that the same variety of dress was observed on the stage which
we know to have actually prevailed in common life.
15. world] Warburton: What, because he met a motley fod^ was it therefore a
miserable world f This is sadly blundered; we should read *a miserable varUt*
ACT 11, sc. vii.] AS YOU LIKE IT 105
As I do Hue by foode, I met a foole, 16
Who laid him downe, and baskM him in the Sun,
And rail'd on Lady Fortune in good termes,
In good fet termes, and yet a motley foole.
Good morrow foole (quoth I :) no Sir, quoth he, 20
Call me not foole, till heauen hath fent me fortune,
And then he drew a diall from his poake, 22
His head is altogether running on this fool, both before and after these words, and
here he calls him a miserable variety notwithstanding he *■ railed on Lady Fortune in
good terms/ &c. Johnson : I see no need of changing * world ' to variety nor, if a
change were necessary, can I guess how it should certainly be known that varUt is
the true word. 'A miserable world * is a parenthetical exclamation, frequent among
melancholy men, and natural to Jaques at the sight of a fool, or at the hearing of
reflections on the fragility of life. Capell : [It was a miserable world] in the esti-
mation of Jaques and others equally cynical, who disrelish the world ; arraigning the
dispensations of Providence in a number of articles, and in this chieBy — that it has
created such beings as fools. Hunter (i, 347) acknowledges that there is no real
need of disturbing the text, and that the meaning, as given by Capell, is not unam-
biguous, but, he continues, ' if this be not thought a satisfactory explanation of the
passage, there is a word which would suit it so well if substituted for *' world,'* and
which might so easily become changed into " world *' that I cannot but think that it
may have been what Shakespeare wrote The word is art, **A motley fool ! a
miserable ortr* "Ort,** says Tooke, "means anything vile or worthless"; but it
seems to contain the idea of remnant or fragment. Shakespeare uses it thus in Tro,
6r* Cres. V, ii, 158, and in Timan^ IV, iii, 400. Fragments of victuals were oris; so
that the word may have led to the idea which next entered the mind of the poet : "As
I do live by food^ I met a fool," and in the course of what he says of him he still
keeps to the idea which the word ort would naturally introduce, and speaks of the
clown's brains as " being dry as the remainder biscuit After a voyage," which was
eminently an ort.* [Whenever we wish to think of the excellent Hunter at his best,
let us wipe from our memory every vestige of an ort of this emendation. — Ed.] Cow-
DEN-Clarke : A parenthetical exclamation, whereby Jaques for the moment laughs
at his own melancholy view of the world, having just heard it echoed by a profes-
sional jester. Moreover, he seems to exclaim, ' This a miserable world ! No, it con-
tains a fool and food for laughter.'
21. fortune] Reed: Fortuna favet fatuis is, as Upton observes, the sa3ring here
alluded to, or, as in Publius Syrus : Fortuna^ nimium qaem/ovei, stuUumfacit, So
hi the Prologue to The Alchemist : * Fortune, that favours fooles, these two short hotus
We wish away.' Again, m Every Man Out of his Humour^ I, i [p. 38, ed. Gifford] :
*Sogliardo, Why, who am I, sir? Macilente. One of those that fortune favours.
Carlo, \A5ide'\ The periphrasis of a fool.* Halliwell : * Fortune favours fools, or
fools have the best luck.' — Ray's Proverbs. Moberly : The proverb, Coleridge wit-
tily and wisely suggests, has something the same meaning as Sterne's saying, ' God
tempers the wind to the shorn lamb.' Weiss (p. 115) : Thus, indeed, like the wise
men, Touchstone will have a social chance to show, as they do, what his folly is.
22. diall] Knight : < There's no clock in the forest,' says Orlando, and it was not
▼ery likely that the Fool would have a pocket clock. What, then, was the ' dial ' that
in
io6 AS YOU LIKE IT [act ii, sc. vu.
And looking on it, with lacke-luftre eye, 23
Sayes, very wifely, it is ten a clocke :
Thus we may fee (quoth he) how the world wagges : 25
'Tis but an houre agoe, fmce it was nine.
And after one houre more, 'twill be eleuen.
And fo from houre to houre, we ripe, and ripe, 28
27. one^ an Var. '03 (misprint ?) Var. 27. eleuen\ a eleven Cap. (corrected i;
'13, Harness. Errata).
he took from his poke ? We have lately become possessed with a rude instrument.
.... It is a brass circle of about two inches in diameter; on the outer side are
engrayed 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 be held in one
position by a ring ; but there is an inner slide in which there is a small orifice. This
slide 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. Hal-
LIWELL : The term ' dial ' appears to have been applied, in Shakespeare's time, to
anything for measuring time in which the hours were marked, so that the allusion here
may be either to a watch or to a portable joiumey-ring or small sun-dial Ring-
dials were manufactured in large number at ShefHeld so lately as the close of the last
century, and were commonly used by the lower orders. [Halliwell gives three or
four descriptions of various patterns, accompanied with wood-cuts; the frontispiece
of his volume is an engraving of an ivory *■ viatorium or pocket sun-dial.']
22. poake] If the Fool were habited in the orthodox fashion, this pocket was
probably the 'large purse or wallet' referred to above by Douce. — Ed.
25. wagges] See Schmidt for instances of both its transitive and intransitive sense.
Hamlet's use of it is noteworthy : < I'll fight .... Until my eyelids will no longer
wag.'— V, i, 255.
28. ripe] Thus, * stay the very riping of the time,' Mer, of Ven, II, viii, 43. Used
as a verb in only two or three other instances, according to Schmidt. Moberly :
Probably most readers of the play will have remarked that the Fool's utterances, as
here given, are not in Touchstone's style. He is not the kind of fool who rails * in
good set terms,' which are ridiculous from their grave senselessness. It would appear
that the Poet allowed himself to turn aside for a moment here to satirize and parody
some of the current dramas of the day. The original of these lines seems to have
been TTie Spanish Trendy of Kyd, where a father, finding his son hanged on an
apple-tree, vents his grief by sa3ring of it, * At last it grew and grew, and bore and
bore ; Till at the length it grew a gallows.' The pun on * gallows ' and * thereby
hangs a tale ' is quite Shakespearian. [But we must remember that it is Jaques who
reports Touchstone's words. We hear Touchstone only through Jaques's ears. And
as for the parody on Hieronimo— it is not impossible. Kyd's fellow-dramatists found
in that tragedy a rich vein of Termagant o'erdone, and worked it with ridicule merci-
lessly. It was not, however, at the substance, the plot of the tragedy, that they
laughed, it was only at the wild rant of the expression, such as ' What outcry plucks
me fix>m my naked bed ?' * let my hair heave up my nightcap/ &c. And so it seems
ACT n. sc. vii.] AS YOU LIKE IT 107
And then from houre to houre, we rot, and rot,
And thereby hangs a tale. When I did heare 30
The motley Foole, thus morall on the time,
My Lungs began to crow like Chanticleere,
That Fooles (hould be fo deepe contemplatiue :
And I did laugh, fans intermiflfion
An houre by his diall. Oh noble foole, 35
A worthy foole : Motley's the onely weare.
33. deepe contemplatiue'] deep-contemplative Mai. Steev. Knt, Dyce, Cam.
Co me doubtful that there . can have been here any thought in Shake^>eare'8 mind of
The Spanish Tragedy ; it comes too near ridiculing the very substance of that drama,
which was a bitter tragedy, to have compared the 'hanging of a tale' with the
hanging of an idolised son in his own father's orchard. — £d.]
30. tale] A phrase used several times by Shakespeare. Weiss (p. 115) : What
tale ? Why, the everlasting tedious one of over-accredited common-place behavior.
Only a Touchstone, with his sly appreciation, can lend any liveliness to that.
31. morall] This is generally interpreted as a verb, equivalent to moralise. But
Schmidt, s. v., says it is * probably an adjective,* a view which is strengthened, I
think, by the preposition * on.' If the verb, moralise, needs no preposition after it (cf.
< Did he not moralize this spectacle ?' — II, i, 48), it is not easy to see why < moral,'
'd used as an equivalent verb, should need one. Had Shakespeare intended to con-
vey the force of moralise, would he not have used the word ? there is no exigency
of rhythm to prevent it The line, < The motley Fool thus moralise the time,' runs
smoothly.— Ed.
32. crow] Wright : That is, to laugh merrily. Cf. ' You were wont, when you
laughed, to crow like a cock,' Two Gent. II, i, 28, [From what Speed says to Val-
entine it is to be inferred, I think, that this < crowing ' was laughter, not so much, per-
haps, of a merry, as of a boisterous, kind. The contrast lies in Valentine's present
lovesick condition, when < he speaks puling, like a beggar at Hallowmas,' with his
former manly estate, when he was wont to crow like a cock when he laughed. — Ed.]
32. Chanticleere] Stuext, s, v. chcmt : Chant-i-cleer, i, e. dear-singing; equiva-
lent to Middle English chaunte-cleer ; Chaucer, Nun^s Prestes, T. 1. 29.
33. deepe contemplatiue] For other compound adjectives, see Abbott, $ 2.
34. sans] Wright (Note on Temp, I, ii, 97) : This French preposition appears
to have been brought into the language in the fourteenth century, and occuis in the
forms saun, son*, satentz, saunz, and saunce. It may, perhaps, have been employed
St first in purely French phrases, such as *■ sans question. '^Z^z^x Lab, Z. V, i, 91 ;
'sans compliment,' King John, V, vi, 16. But Shakespeare uses it with other words,
ss here, and in Ham, III, iv, 79. Nares quotes instances from Jonson, Beau. & Y\.^
Massinger, and others. So that it appears to have had an existence for a time as an
English word. Cotgrave gives: ^Sans. Sanse, without, besides'; and Florio has,
*Senga, sans, without, besides.'
36. Motley] CAX.DECOTT : There was a species of mercery known by that name,
< Polymitus. He that maketh motley. Polymitarius.'^Withal's little Diet., 1568.
* Frisadoes, Motleys, bristowe frices ' are in the number of articles reconmiended for
northern traffic in 1580. Hakluyt's yoyages, 1582.
io8 AS YOU LIKE IT [act ii. sc. vii.
Du, Sen. What foole is this ? 37
laq. O worthie Foole : One that hath bin a Courtier
And fayes, if Ladies be but yong, and faire,
They haue the gift to know it : and in his braiue^ 40
Which is as drie as the remainder bisket
After a voyage : He hath ftrange places cramM 42
39. bufl Om. FjF^, Rowe i. 40. braiu£\ F,.
36, 38. A worthy . . . O worthie] An anonymous conjecture recorded in the
Cam. Ed. is, I think, an emendatio cerHsHma ; it had occurred to me independently.
It is that this 'A' and this * O ' should change places. When the Duke asks Jaques a
direct question, < What fool is this ?' Jaques, according to the text, instead of answer-
ing, breaks out into an apostrophe, < O worthie Foole !' which, however much it may
relieve his feelings, is certainly somewhat discourteous to the Duke. It is this dis-
courtesy and this irrelevancy which first made the phrase suspicious. Change the
' O ' into Ay and at once all b right ; we have an answer to the Duke, and the second
half of the line is properly connected with the first : * A worthie Foole, one that hath
bin,' &c. Thus, too, in line 35, after apostrophising the fool : < Oh noble foole,' there
is to me something weak in falling to the third person, and adding < a worthie foole.'
It should be * Oh worthy foole.' — Ed.
41. drie] Wright: In the physiology of Shakespeare's time a dry brain accom-
panied slowness of apprehension and a retentive memory. We read in Batman vppon
Bartholomew fol. 37, b^ * Good disposition of the braine and euill is knowne by his
deedes, for if the substaunce of the braine be soft, thinne, and deere : it receiueth
lightly the feeling & printing of shapes, and lykenesses of thinges. He that hath
such a braine is swift, and good of perseveraunce and teaching. When it is con-
trarye, the braine is not softe ; eyther if he be troubled, he that hath such a braine
receiueth slowly the feeling and printing of thinges : But neuerthelesse when hee hath
taken and receiued them, he keepeth them long in minde. And that is signe and
token of drinesse, as fluxibility & forgetting is token of moisture, as Haly sayth.' See
Tro. dr» Cress, I, iii, 329.
41. bisket] BoswELL : So in Jonson's Every Man Out of his Humour [Induc-
tion] : 'And, now and then, breaks a dry biscuit jest, Which,' &c.
42. places] Deuus : That is, strange passages from books, remarkable citations.
Schmidt (p. 455) : This interpretation of Delius's must be left undecided ; no paral-
lel example in Shakespeare occurs to me. Wright : Topics or subjects of discourse.
Compare Bacon, Advancement of Learnings ii, 13, $ 7 : 'Ancient writers of rlietoric
do give it in precept, that pleaders should have the places, whereof they have most
continual use, ready handled in all the variety that may be.' Neil : A scholastic
phrase for stock arguments, ideas, topics — Loci communes, Rolfe: That is, odd
comers. Wright's explanation as ' topics or subjects of discourse ' does not suit so
well with < cramm'd.' [There can be no doubt, I think, that Bacon uses the word
•s Wright has exactly defined it In $ 9, Bacon says : < The other part of invention,
which I term suggestion, doth assign and direct us to certain marks or places, which
may excite our mind to return and produce such knowledge as it hath formerly col-
lected, to the end we may make use thereof;' which is very nearly in Jaques's exact
phrase a * place, cramm'd with observation.' Again, ' I do receive particular topics,
ACT II. sc. vii.] AS YOU LIKE IT 109
With obferuation, the which he vents 43
In mangled formes. O that I were a foole,
I am ambitious for a motley coat. 45
Du. Sen. Thou fhalt haue one.
lag. It is my onely fuite, 47
that is, places or directions of invention and inquiry in every particular knowledge,
as things of great use.' — § 10. Dr Johnson, in his Dictionary^ gives as one of the
definitions of *■ Place/ ' a passage in writing,' but under the definition * separate room '
he cites as an example the present phrase of Jaques. That Delius's, Wright's, and
Neil's interpretation is correct is shown by the rest of the sentence : these strange
subjects the fool * vents in mangled forms.' It is not easy to see how * separate
rooms * or * odd comers * could be either vented or mangled. — Ed.]
43. obseruation] To be pronounced as five syllables. This dissolution^ as it is
called, of the -ion is almost universal at the end of a line, but it is comparatively rare
in the body of the line. See Walker, Vers. p. 230.
45. ambitious] Wright : This word, as would appear from the word < suit * in
the next speech of Jaques, is here used with something of the meaning of the Latin
amhitiosuSy going about as a candidate.
47. suite] Johnson : That is, petition^ I believe, not dress, Steevens : It is a
quibble, as in IV, i, 85. Staunton : The old, old play on the double meaning of
the word. [No fit opportunity has presented itself thus far to set forth Whiter's
theory of the Association of Ideas. As the present passage fairly unfolds it, it is given
here, and repetition hereafter is rendered needless. It is defined (p. 68) as ' the power
of association over the genius of the poet, which consists in supplying him with words
and with ideas, which have been suggested to the mind by a principle of union unper-
ceived by himself, and independent of the subject to which they are applied. From
this definition it follows : First, that as these words and sentiments were prompted by
a cause which is concealed from the poet, so they contain no intentional allusion to
the source from whence they are derived ; and secondly, that as they were forced on
the recollection of the writer by some accidental concurrence not necessarily depend-
ent on the sense or spirit of the subject, so they have no necessary resemblance in this
secondary application to that train of ideas in which they originally existed.' On p.
82 we find the following illustration of this theory as thus defined : < It is certain that
those ideas are apparently very remote from each other which relate to drcss^ to a
noisome plant, and to that which is expressive of asking or accommodating; and yet
the curious reader will be astonished to discover that the Poet is often led to connect
some of these dissimilar objects, because they have l)een by accident combined under
the same sound ; and because certain words, by which they are expressed, are some-
times found to be coincident in sense. The words to which I allude are Suit and
Weed, which from their equivocal senses have strangely operated on the mind of the
Poet to produce, without his own knowledge and without confusion of metaphor, the
union of words or the connexion of the ideas.' Among his first examples Whiter
qtlotes the present passage from line 45 to line 50, italicising coat, suit, and weed, and
then continues : < This the reader must acknowledge to be a singular combination. I
agree with Dr Johnson that " suit " mea.us petition and not dress, and I think Steevens
is mistaken in supposing that the Poet meant a quibble. Let me observe in this place
that there is a species of quibble which may be referred in a certain sense to the prin-
no AS YOU LIKE IT [act ii. sc. vil
[It is my onely suite,]
ciple which I am discussing; and it is therefore necessary te remind the reader that I
mean only to produce those instances of association where the author himself was
unconscious of its effect .... In the following passage dress is united to the plant :
** they are ... . preachers to us all ; admonishing, That we should dress us fairly for
our end. Thus may we gather honey from the Tveedy And make a moral of the devil
himself." — Ifen. V: IV, i, 9. The argument, which I am illustrating, will not be
affected by the sense in which dress is taken ; whether it signifies address^ to prepare,
or dress^ to clothe ; as the association arising from the same sound bearing an equivo-
cal sense will be equally remarkable In the following passage dress is connected
with steit in its sense of accommodatum, '* Bravery " (as every one knows) is splen-
dour in dress : ** That says his bravery is not on my cost (Thinking that I mean him),
but therein suits" &c. [11. 83, 84 of the present Scene] In the following pas-
sage from Coriolanus ** weed " in the sense of dress is connected with the word ** suit '*
in the sense oi petition ; and there is likewise a new notion annexed, which relates to a
peculiar meaning of the equivocal word " suit " : " forget not With what contempt he
wore the humble weed; How in his suit he scom'd you ; but your loves. Thinking
upon his services^ took from you The i^)prehension of his present portance. Which
most gibingly, ungravely, he did fashion After,*' &c. — Cor, II, iii, 228. In this pas-
sage the remarkable words are weedy suity services^ fashion ; and the reader, I hope,
will not imagine that I refine too much, when I inform him that the word services is
to be referred to the same association; and that it was suggested to the Poet by
another signification which suit sometimes bears of livery y the peculiar dress by which
the servants and retainers of one family were distinguished from those of another.
These distinctions were considered matters of great importance ; and we accordingly
find both in Shakespeare and in all our ancient writers allusions of this sort perpetu-
ally occur, and the idea of service \s often connected with the badge or dress by
which it is accompanied. Thus : " Wear this for me ; one out of suits with fortune,"
&c. [I, ii, 242 of the present play, where Steevens's and Malone's notes are quoted
by Whiter as confirming his view] I could produce numberless passages in
which familiar metaphors are directly taken from the distinguishing dress of servants ;
but those instances only are directed to explain my present argument, in which worth
relating to a certain subject, though not all applied to it, have been connected with
each other by an involuntary association. To illustrate more fully the passage pro-
duced above from Coriolanus, take the following, where service and fashion are like-
wise again united : '< 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 " [II, iii, 58 of the present play]. << Suit " and " service " we know are
terms familiar to the language of our Feudal Law. No ideas are more impressed on
the mind of our Poet than those that have reference to the Law. In the following
passages suit and service are again united : Mer. of Ven, II, ii, 153-156; Lov^s Lab,
Z. V, ii, 275, 276 ; lb, V, ii, 849, 850.' [It is not necessary that we should agree
with Whiter in order to admire his ingenuity. That his theory is incapable of down*
right proof must be confessed, and yet who can gainsay it ? There is one rather
striking instance of what he urges in regard to an association in Shakespeare's mind
between weeds and suits in Lear, which strangely escaped Whiter's observation.
Cordelia says to Kent : * Be better suited ; These weeds are memories of those
worser hours ; I prithee put them off.'^IV, vii, 6. Here ' weed ' is used, as in many
another place in these plays, for garment (it still survives in ' widow's weeds '), and it
ACT n. sc. vu.] AS YOU LIKE IT iii
Prouided that you weed your better iudgements 48
Of all opinion that growes ranke in them,
That I am wife. . I muft haue liberty 50
Wiithall, as large a Charter as the winde,
To blow on whom I pleafe, for fo fooles haue :
And they that are mod gauled with my folly,
They moft muft laugh : And why fir muft they fo ?
The why is plaine^ as way to Parifli Church : 55
Hee, that a Foole doth very wifely hit,
Doth very fooliftily, although he fmart
Seeme fenfeleffe of the bob. If not, 58
51. Wuthatt^ F,. 58. Seeme\ Ff, Rowe, Pope. But to
55. why] way Rowe ii. Coll. (MS), Wh. i, Coll. ii, iii, Dyce iii,
56. Hee, thatl He whom Pope + . Rife. Not to Theob. et cet
was because it thus means garments that it was associated elsewhere with suits of
clothes, even when it means a troublesome plant, as in this present speech of Jaques.
Whiter noted that ' suit ' here in Jaques's mind suggested ' weed ' ; it did not, perhaps,
come within the scope of his special association to note that < weed ' in turn suggested
< rank growth ' in the next line. And may we not carry on the association and fill
out the picture, and see the gaudy blossoms bending in ' the wind ' that ' blows on
whom it pleases,' along the summer pathway to the *■ Parish Church * ?— Ed.]
51. V\ruth«U] See I, i, 130.
51. Charter] Stekvens: So m Hen, V: I, i, 48: *The wind, that charter'd lib-
ertine, is still.'
53. TiECK (p. 311) infers, from what he considers a resemblance between this and
a passage in Jonson's Every Man Out of his Humour, that there is more or less ref-
erence in this character of Jaques to Jonson himself. The passage occurs in the
Induction (p. 12, ed. GiiTord) : ' I'll strip the ragged follies of the time IS^aked as at
their birth — and with a whip of steel PHnt wounding lashes in their iron ribs/ &c.
While the character itself of Jaques may have been intended for Jonson, Tieck thinks
that in the rest of this speech, and especially in the Duke's reply, there may be an
allusion to Marston, in whose Scourge of Villainy Tieck is * inclined on more than
one ground to believe that Shakespeare himself is lashed.' This fanciful surmise of
Tieck's has met with no acceptance. I have alluded to it again in the Appendix on
* The Date of Composition.* — Ed.
53) 54* Neil : ' The very attempt to disguise embarrassment too often issues in a
secondary and more marked embarrassment.' — De Quincey [Lit, Reminiscences, i, 25,
quoted by Ingleby].
55. as way] Abbott, § 83 : ^ and the are also sometimes omitted after as, like,
and than in comparative sentences. See * creeping like snail,' post 154.
57. 58. Theobald : Besides that [line 58] is defective one whole foot in measure,
the tenour of what Jaques continues to say, and the reasoning of the passage, show it
no less defective in the sense. There is no doubt that the two little monosyllables
which I have supplied [see Textual Notes] were either by accident wanting in the
MS copy, or by inadvertence left out at press. Whiter (p. 23) : I read and point
iia AS YOU LIKE IT [act ii, sc. vii.
[Doth very foolishly, ... If not,]
the passage thus : *■ He, that a fool doth very wisely hit, Doth, s^rj foolishly although
he smart, Seem senseless of the bob ; if not,' &c. That is, a wise man, whose fail-
ings should chance to be well rallied by a simple, unmeaning jester, even though he
should be weak enough really to be hurt by so foolish an attack, appeais always
insensible of the stroke. When the line is smooth it will not be necessary for us to dis-
turb the text on the authority of our fingers. As the poet did not write with such a
process, so he ought not to be tried by such a test. Caldecott : Olivia in Twelfth
Ns has much this sentiment : * To be generous, guiltless, and of free disposition is to
take those things for bird-bolts that you deem cannon-bullets ; there is no slander in an
allowed fool, though he do nothing but rail.* — I, v, loo. Coluer [Notes^ &c., p.
131) : Theobald was nearly right, though not entirely so, for the better correction in
the Fol. 1632 is 'Bmt to seem,* &c. White (ed. i) : The text of Collier's (MS) better
suits the style of Shakespeare^s time. Dycs (ed. i) : I cannot agree with Singer {Sk.
Vim^, p. 40) that * Whiter explains the old text satisfactorily, and neither [Theobald's
nor G>llier's] addition is absolutely necessary.' Winter's explanation of the old text
here was a little too much even for Caldecott and Knight Keightley {Expasitvr^
p. 15S) : We have the very same omission [as Theobald's tut to\ in < Yet if it be yooi
wills nM to forgive The sin I have committed, let it not fikll,' &c — PhilasUr, II, hr,
where none of the editors have perceived the loss. [Nor would have accepted * the
loss ' had it been ofiered to them. Keightley's emendatioo here in Philaster is, I
think, utteriy wrong. — £ix] Ingleby {Sh. Ifenmemmtics, p. 81) disapproves of
Theobald's emendatioQ, and thus attempts the vindication of the or^;inal text : Why
does a fool do wistfy in hitting a wise man ? Because, throqgh the vantage of his
folly, he puts the wise man * in a strait betwixt two,' to pat up with the smart of the
boK without dissembling, and the oooseqnential awkwardness of having to do so^
which makes him foel foolish enoogb-— or to pat up widi the smart, mm^ efissewMe it^
which entails the secoDdarr awkwardness of the dissimnlafion, whidi makes him fed
still more fooli^ Takii^ the fonoaer aheniatiTe, i. «. « If not' (' If i^ i^ not ') hb
* folly is anatomised ev^n br the squandering ^anoes of the fool ' ; taking the latter
ahemadvc, he makes a fool of himsdf in the eyes of almost everybody else. So the
fool gets die advantage bodi wmys. .... Ohserring dial [hoe 5S] is too short, we
think it prcihahle that die words kt do originanT formed part of iL Be that as k may,
< If not* must mean < If he do ooL' IVthaps < vciy foofiddy ' dunld be in si parea-
di«sxs; and* x^TTTwisdy' might be so also. Wright ^bvsrepfies to Ii^My: lathe
iirst place, it is ocft said diat die fool dodi wisdy in hioi^ a wise man ; hut if hehitt
him wisely, die How on the part of die fool beii^ stnack aft raadom, si
glance, withcot any wisdom of lUteBitioii, die wise man wiQ do wyH to ohserc>ie si
tain line of ccndvct. Again, Dr logfeby^s expSaaaDon woald seem to re^qasre ' '
he ssiarts * i»s<«3»d of * ahhcw^ he smarts,* «s diewi^g how it is thsft &e wise man^s
dissamvlacion is fociH^ or awinntnL If ^e wise man in his rTiTnlmriMiLM x«rr foo3«
tshhr or awkwaixihr soempts to seem zaseosable to the }esaii^ of Ok ScsoI, has foZhr is
a2»atcl^lis^d or expowd us m«ch us it p«sab}y ccatU he, send the oobctssi xn^sSed in die
* If 7)c< * of the next seoienoe has so poiot. * If siOL* lluA is» if he do aot w^ait is
ss^:{;r$9ed, " die wise man^ foHy is stuttomiwd * or laid have «■««& by l^ exxnn^mft
and Tvndcm sallies of the fool. The jveoedii^ senieBoe s&xws hew das is 10 he
a^'vk^ed, w^ich is Vc seemoi^ ime nsR ie to the jeA aoid Ua^i iy it «#: Idr odKswise,
if the wise msa jdiew$ thtf he ieeih die itii^, or «■««» foohshh- mid Jiml f um - ^ ^g».
I«ises htt foehx^, whk^ if die oii3y mesBi^ of w^nch
ACT n. sc. vii.] AS YOU LIKE IT 113
The Wife-mans folly is anathomizM
Euen by the fquandring glances of the foole. 60
Inueft me in my motley : Giue me leaue
To fpeake my minde, and I will through and through
Cleanfe the foule bodie of th'infefled world,
If they will patiently receiue my medicine.
Du. Sen. Fie on thee. I can tell what thou wouldft do. 65
lag. What, for a Counter, would I do, but good ?
59. Wt/e-tnans] wise rnanU Rowc et 61. my] tJu F^F^, Rowe.
seq. 62. andthrougJi\ Om. F^F^.
60. the foole] a fool Y^^^ Rowe + .
his folly is equally exposed. Jaques gives this as the explanation of what he said in
line 53 : 'And they that are most galled with my folly, They most must laugh.' The
reading of the Folio is not an explanation, but a repetition. [In Shakespeare thi
Man^ &c., p. 140, Ingleby replied to Wright and ' restated ' his own argument, but
with no essential addition. It seems to me that the original text is capable of being
thus paraphrased : He who is hit the hardest by me must laugh the hardest, and that
he must do so is plain ; because if he is a wise man he must seem perfectly insensible
to the hit ; no matter how much he smarts, he must still seem foolishly senseless of the
bob by laughing it off. Unless he does this, viz. : show his insensibility by laughing
it off, any chance hit of the fool will expose every nerve and fibre of his folly. See
Dr Johnson's paraphrase below. I really do not see any need of changing the text.
—Ed.]
58. bob] Dyce : A taunt, a scoff. ' A bob, sanna* G)les's Lai, and Eng, Diet,
Wright: G>tgrave: 'Taloche: A bob, or a rap ouer the Bngers ends closed
together.*
58. If not] Johnson : Unless men have the prudence not to appear touched with
the sarcasms of a jester, they subject themselves to his power ; and the wise man will
have his folly 'anatomised,' that is, dissected and laid open^ by the 'squandering
glances ' or random shots of a fool.
60. squandring] See the citations in proof that to ' squander ' means to scatter in
Mer, of Ven. I, iii, 22 : ' Other ventures hee hath squandred abroad.'
66. Counter] Steevens : Dr Farmer observes to me that about the time when
this play was written the French ' counters ' (t. e. pieces of false money used as a
means of reckoning) were brought into use in England. They are mentioned in
TYo. 6r* Cress. II, ii, 28 : * Will you with counters sum The vast proportion of his
infinite?' Knight: The wager proposed by Jaques was not a very heavy one.
Jettons or counters, which are small and very thin, are generally of copper or brass,
but occasionally of silver, or even of gold ; they were commonly used for purposes
of calculation in abbeys and other places, where the revenues were complex and of
difficult adjustment. From their being found among the ruins of English abbeys they
are usually termed abbey-counters. They have been principally coined abroad, par-
ticularly at NQmberg, though some few have been struck in England since the reign
of Henry VIII. The most ancient bear on both sides crosses, pellets, and globes ;
the more modem have portraits and dates and heraldic arms on the reverse. The
legends are at times religious, and at others Gardez vous de mescompter^ and the like.
8
114 ^^ you LIKE IT [ACT II. sc vn.
Du. Sen. Mod mifcheeuous foule fin, in chiding fin : 67
For thou thy felfe haft bene a Libertine,
As fenfuall as the brutifli fting it felfe,
And all th'imboffed fores, and headed euils, 70
67. chiding Jin] F,. 69. fting\ swine Gould.
68. bene\ ben F,. 70. imboffed] embossed Pope.
69. bruHJh] bruiHJh FjF^.
67, &c. MoBERLY : You would do foul sin in chiding others ; for your former
profligacy would make you corrupt the world, not amend it, by your experience. To
converts like you silence is more suitable than the part of a moral and social reformer.
Allen (MS) : Jaques understands the sin, which the Duke predicts he will commit,
to be false-witness, or calumnious satire, in that he will disgorge upon the world
charges (< chidings ') of their being guilty of such sins as he had himself committed.
69. brutish sting] Johnson : Though < brutish sting ' is capable of a sense not
inconvenient in this passage, yet as it is a harsh and unusual mode of speech, I should
read the < brutish sty^ Steevens : G>mpare 0th. I, iii, 361 : < our carnal stings, our
unbitted lusts.' Wright : The impulse of the animal nature.
70. imbossed] Dyce : A hunting term, properly applied to a deer when foaming
at the mouth from fatigue. Also, swollen, protuberant. Furnivall {Abtes 6r* Qu,
4th S. vol. xi, 507) shows that the two meanings, scarcely sufficiently distinguished by
Dyce, are due to two different derivatives : * The oldest is a term in hunting from Old
French, and, therefore, almost certain to involve some ** conceit *' or fancifril allusion.
When the deer foams at the mouth frx>m fatigue, is covered with bubbles there, he is
accordingly said to be "embossed." Cotgrave's ** Embosser: To swell, or arise in
bunches, hulches, knobs; to grow knottie or knurrie.'* So in Tam. Shr. I, i, 17, the
" poor cur " Merriman is embossed or foams at the mouth, and is ill. So again, of
Antony foaming with rage against her, Cleopatra says (IV, xiii, 2) "the boar of
Thessaly was never so embossed" ; never so foamed with rage. The other embossed
is from the Old French " emboser^ emboiter, enchftsser nne chose dans une autre.
Ducange, v. imbotareV — Hippeau. This is G>tgrave*s **Emhoister: To imbox,
inclose, insert, fasten, put, or shut up, as within a box," and is Shakespeare's word in
All^s Weiiy III, vi, " we have almost embossed him " (emboxt him), as is clear from
the next speech : "First Lord. We'll make you some sport with the fox ere we ctise
him.'" [Is not 'case,' by the way, in this last speech the ordinary hunting and
culinary term, meaning to skin ? The distinction, however, between these two mean-
ings, which have caused much discussion, was first, I think, here pointed out by Fur-
nivall, and has been fully confirmed.] Skeat, s. v, ^Emboss (i), to adorn with bosses
or raised work (French) Lat. im-^in; and Old French bosse, a boss. Emboss
(2), to enclose or shelter in a wood (French) Old French, embosquer, to shroud
in a wood Lat. im- = in; and Old French, bosc or bosque, only used in the
diminutive form bosquet^ a little wood.'
70. euils] Walker {Crit. iii, 61) : An old use of 'evil,' still extant in 'king's
evil.* [In quoting this line Walker gives it ' beaded evils.* Lettsom, in a foot-note,
says : ' I follow Walker's manuscript, though, from his silence, beaded may be a slip
of his pen or memory. I suspect it to be the genuine word, though I believe all edi-
tions have " headed." * It is certainly a good emendation, and follows out the mean-
ing of ' embossed ' even more completely than, probably, Lettsom was aware of. — Ed.]
ACT II. sc. vii.] AS YOU LIKE IT I15
That thou with Hcenfe of free foot haft caught, 71
Would'ft thou difgorge into the generall world.
laq. Why who cries out on pride,
That can therein taxe any priuate party :
Doth it not flow as hugely as the Sea, 75
Till that the wearie verie meanes do ebbe.
74. taxe\ be tax'dofT>9S!LveX, means Cald. wearer's very means Sing.
76. wearie verie meanes"] weary very Wh. Dyce ii, Ktly, Coll. iii, Huds. Cla.
means F F4, Rowe, Knt, Coll. i, Dyce i, Rife, very means of wear QjcilX.Yi. means^
iii, Sta. Cam. Clke. very very means the very means Jervis. tributary streams
Pope+, Cap. Stecv. Mai. wearie very Lloyd (ap. Cam. 'EA.).
71. with license] The definite article is absorbed in the th of * with.' — Ed.
73. Walker i^Crit. iii, 61) would arrange the lines : * Why, who cries out on pride,
that can therein Tax any private party ?' and begin a new line, < Doth it not,' &c.
[But all such arrangements are merely scansion for the eye, and could not possibly
be indicated on the stage. — Ed.] Keightley {Expository p. 158) : There is some-
thing wanting here ; for in this play the speeches never begin with a short line. It
is evident also that it is one kind of pride, that of dress, that is spoken of. I there-
fore read without hesitation 'pride of bravery*
73, &c. MOBERLY : Chide as I will, why should I offend them ? Who can say
I mean him? Jaques appears either wilfully or through shallowness to miss the
deep wisdom of the Duke's saying and the whole character of his admonition^
The Duke had not said that Jaques would offend people, but that he would corrupt
them.
76, 78. Tin that . . . When that] See I, iii, 44.
76. wearie verie] Whiter (p. 24) : The original text is certainly right The
sense is, 'Till that the very means being weary do ebb.' Caldecott explains
* wearie * by exhausted. Singer {Notes 6r* Qu. vol. vi, p. 584, Dec. '52) : It is quite
obvious we should read ' the wearer's very means.' The whole context shows this to
be the poet's word, relating as it does to the extravagant cost of finery bestowed by
the pride of the wearers on unworthy shoulders, ' until their very means do ebb.'
Collier (ed. i) : A clear sense can be made out of the passage as it stands in the
old text, and we therefore reprint it ; but the compositor may have misread * wearie '
for wearing^ and transposed < very ' ; and if we consider Jaques to be railing against
pride and excess of apparel, the meaning may be that *■ the very wearing means,' or
means of wearing fine clothes, * do ebb.' Halliwell : The meaning [of the original
text] is, does not pride flow as stupendously as the sea, until that its very means, being
weary or exhausted, do ebb. The original text is perfectly intelligible, and similar
transpositions of adjectives are met with in other places. It may he observed, how-
ever, that Rosalind, in the Fourth Act, terms herself * your very^ very Rosalind.'
Collier (ed. ii) : Our reading is that of the (MS), * the very means of wear * being
the money spent upon the apparel of pride to which Jaques is referring. Staunton :
The reading of the old text is not very clear ; neither are the emendations of it which
have been adopted or proposed The disputed words should, perhaps, be printed
with a hyphen, weary-very or very-weary. Dyce (ed. i) : Though I believe the line
to be corrupted, I follow the old copy, because none of the changes which have been
pix^>06ed are quite satisfactory. [Herein Dyce takes me completely with hun. — Ed.]
ii6 AS YOU LIKE IT [act ii, sc. viL
What woman in the Citie do I name, 77
When that I fey the City woman beares
The coft of Princes on vnworthy fhoulders ?
Who can come in, and fay that I meane her, 80
When fuch a one as fhee, fuch is her neighbor ?
Or what is he of bafeft funftion,
That fayes his brauerie is not on my coft,
Thinking that I meane him, but therein fuites
His folly to the mettle of my fpeech, 85
There then, how then, what then, let me fee wherein
My tongue hath wronged him : if it do him right,
Then he hath wronged himfelfe : if he be free,
why then my taxing like a wild-goofe flies
VnclaimM of any. man But who come here? 90
Enter Orlando.
OrL Forbeare, and eate no more. 92
78. City woman] dfy'jvoman Pope. Steev. Tk^e then ; haw then t what
83. on my\ of my Cam. (misprint ?) then ? Theob. et cet.
Glo. Qa. Wh. ii. 86. There ^./ee^There then; how then f
85. fpeech^ speech. Pope, speech t let me then see Han.
Theob. ^. wild-goo/e] Tvild goose 'Royrt.
86. There then] Where then MaL 90. come] F,.
conj. 91. Scene VIII. Pope+.
There.,. what then] Ff, Rowe4-. Enter... with a sword drawn.
There then; How^ what then? Gip. Theob. et seq.
Dyce (ed. ii) : I adopt Singer's correction as being, at least, not so violent as the
other proposed readings Mr Lettsom queries, < Till that your bravery bring
your means to ebb.' Dyce (ed. iii) silently returns to the original text.
76. meanes] In Notes b* Qu. 5th Ser. vol. v, p. 143, S. T. P. proposes to substi-
tute mains, i. e. * main flood, or springtide.' On p. 345 of the same volume, J. L.
Walker suggests ' mears, i. e. boundaries or limits.'
82. function] Moberly : Suppose I say that mean fellows should not be smart,
and suppose any such peraon, the lowest of the low, tells me he does not dress at my
expense, he only proves that the cap fits.
86. Walker ( Vers. 116) among instances of the shifting accent of wherein, whereof,
&c. cites this line, but reads * T^hs then ' for < There then.' Dyce (ed. iii) says Lett-
som conjectures ^ Where {sic Malone — Ed.] then? how then? what then? let^s see
wherein.' [The line is inflexibly, and I believe intentionally, trochaic. — Ed.]
88. free] Dyce : Free from vicious taint, guiltless. As in < Make mad the guilty
and appal the free.' — Ham. II, ii, 590.
90. any. man But] Another trifling variation in different copies of the First Folio.
The Reprint of 1807, Staunton's Photo-lithograph, and my copy place the period after
< any.' Booth's Reprint, and the copy used by the Cambridge Editors, place it after
< man.'— Ed.
ACT n, sc viLJ AS YOU LIKE IT 117
laq. Why I haue eate none yet 93
OrL Nor (halt not, till neceffity be feruM.
laq. Of what kinde ftiould this Cocke come of? 95
Du. Sen. Art thou thus bolden'd man by thy diftresf
Or elfe a rude defpifer of good manners.
That in ciuility thou feem'ft fo emptie ?
OrL You touchM my veine at firft,the thorny point
Of bare diftreffe, hath tane from me the (hew 1 00
Of fmooth ciuility : yet am I in-land bred,
And know fome nourture : But forbeare, I fay, 102
94. #f^] thou Theob. ii, Warb. Johns. come of— Ktly. come of I marvel Ktly
95. 0/wAatl What Johns. Gip. (cor- conj.
rected in Errata). 100. hath'] that hath Ff, Rowe i.
come of] come Rowe, Pope, Han. loi. in-land] in land F^. inland
Rowe, Johns.
92, 93. According to Abbott, § 500, a trimeter couplet For < eate,' see § 343.
95. Of ... of ] Abbott, § 407 : Where the verb is at some distance from the
preposition with which it is connected, the preposition is frequently repeated for the
sake of clearness. See line 146 below, * the Sceane Wherem we play m.' [There is
the same idiom in Greek and in Latin. — Ed.]
96. bolden'd] Richardson, Diet. s. v., gives ioU in the sense of audacious^ impu-
dent, as well as in a good sense of fearless, &c. There seems to be here this worse
meaning of ' bolden'd,' making it parallel with ' a rude despiser of good manners ' in
the next line. Allen (MS) suggests this. — Ed.
97. else] Wright : Redundant here, as in Ii. of L, 875 : * Or kills his life or else
his quality.'
98. ciuility] Wright : Politeness in a higher sense than it is used at present.
See III, ii, 127, and Mer. of Ven. II, ii, 204: * Use all the observance of civility.'
100. tane] Johnson : We might read torn with more elegance, but elegance alone
will not justify alteration.
loi. Abbott's scansion (§ 467) of this line is to me objectionable. Perhaps he is
right in saying that an unaccented i before -ty is sometimes dropped, but I doubt if
this be here required ; it gives a line which is to my ear anything but pleasant : * Of
smooth I civili | (^ y^t | am I (n | land br^d.' I prefer to pronounce every syllable,
' Of smooth I civil | ity | yet am | I in | land bred,' and term the line a trimeter
couplet, or courageously call it a downright Alexandrine.— Ed.
lox. in-land] Holt White: The opposite to outland or upland. Orlando
means to say that he had not been bred among clowns. Caldecx)TT : Uplandish in
our early writers and dictionaries is interpreted * unbred, rude, rustical, clownish ' ;
' because,' says Minsheu, ' the people that dwell among mountains are severed frx^m
the civilitie of cities,' 161 7. See III, ii, 334.
102. nourture] Steevens: That is, education, breeding, manners. < It is a
point of mtrture, or good manners, to salute them you meete. Urbanitas est salutare
obvios.' — Baret's Ahearie, 1580. Wright: See Saladyn^s Complaint in Lodge's
Novel : ' the faults of thy youth .... not onely discovering little nourture, but blem-
ishing the excellence of nature.'
118 AS YOU LIKE IT [act ii, sc. viL
He dies that touches any of this fruite, 103
Till I, and my affaires are anfwered.
laq. And you will not be anfwered with reafon, 105
I muft dye.
Du. Sen. What would you haue?
Your gentleneffe fhall force, more then your force
Moue vs to gentleneffe.
OrL I almofl die for food, and let me haue it. 1 10
105. And'^ Ff,Rowe,Cald. -5'^Pope+. 105, 106. be,„dye] Sep. line, Pope + .
An Cap. ct cet. Prose, Cap. ct seq.
an/w€r'd'\ ansroered Rowe. 107, 109. Two lines, ending force,..
gentlenejjfe Pope et seq.
103. fruite] It seems superfluous, if not worse, to call attention to Shakespeare's
acou^cy even in the most trivial details. MecU ox food would have suited the rhythm
here, but ' fruite ' recalls the * banket ' which was now before the Duke. Of course,
a little further on, when Orlando says he dies for * food,' he had to use that word
then; it would have been laughable to say he died ior fruit. — ^Ed.
104. 105. answered . . . answer'd] Abbott, § 474, refers to this as an instance
where -ed is sonant and mute, even in words in close proximity. It is certainly thus
printed in the Folio, as we see ; but I doubt if it be the better way. The scansion
of these lines is not easy, and the majority of modem editors, following Capell's lead,
have evaded the difficulty by printing lines 105 and 106 as prose, which I cannot but
think is wrong. The whole scene is in rhythm, and one solitary prose sentence, thus
breaking in, is as certainly discordant as it is suspicious. Pope and his followers down
to Capell divided the lines, and printed, thus : <If you will not Be answered with
reason I must die,' which is certainly better than prose, and it makes -ed sonant in
both examples of < answered,' but the division of the lines at * not ' is objectionable.
Why Capell printed as prose I cannot see ; he certainly, in his NoUs^ approves of
Pope's division, that is, if I can understand his ragged English. I prefer the arrange-
ment as we have it here, merely changing * answer'd ' to answered^ in order to avoid
throwing the ictus on the last .syllable of 'reason;' to accent the last syllable of
* reason ' weakens the force of what, I am afraid, Jaques intended for a pun. — ^Ed.
105. reason] Staunton : We should, possibly, read reasons. Here, as in other
places, Shakespeare evidently indulged in the pereimial pun on reasons and raisins.
108, 109. gentlenesse . . . force . . . force . . . gentleness] Moberly calls atten-
tion to what he considers the chiasm here. I think this can hardly be called a
perfect chiasm, wherein something more is needed than a mere criss-cross position
of the terms ; to speak arithmetically, the extremes, as well as the means, should be
related. For instance, < warmed and cooled by the same winter and summer,' (Mer.
of Ven. Ill, i, 57) is a complete chiasm. There appears to be no such relation here.
—Ed.
no. and] Abbott, § 100: I pray you may perhaps be understood after this word,
implied in the imperative < let.' Dyce (ed. iii) : Probably (as Mr Lettsom remarks),
an error caused by < and ' occurring twice in the next line : qy. so t Wright : For
this use of < and ' in the sense of < and so ' or < and therefore,' see below, line 142, and
Temp. I, ii, 186 : < 'Tis a good dulness, And give it way.'
ACT II, sc. vii.] AS YOU LIKE IT 119
Du, Sen, Sit downe and feed, & welcom to our table ill
Orl, Speake you fo gently ? Pardon me I pray you,
I thought that all things had bin fauage heere,
And therefore put I on the countenance
Of fteme command'ment. But what ere you are 115
That in this defert inacceffible,
Vnder the (hade of melanchoUy boughes,
Loofe, and negleft the creeping houres of time :
If euer you haue look'd on better dayes :
If euer bcene where bels haue knoU'd to Church : 120
If euer fate at any good mans feaft :
If euer from your eye-lids wip'd a teare, 122
112. gently'] gentle Ktly. II 6. defert] defart F^F^, Rowe, Pope,
113. bin] beene Ff. Theob. Han. Warb.
115. command' ment] Ff. command- 1 18. Loofe y ctnd negledl] Neglect and
ment Rpwe. lose Gentleman.
120. bcene] F,.
Ill, &c. Fletcher (p. 210) : Orlando's eagerness to relieve the pressing necessity
of his aged servant, would not have permitted him to waste his time on even the most
eloquent appeal to the feelings of his stranger host and his companions, but that he
now feels ' gentleness ' to be his most effective weapon for securing from these men,
with whom he is so newly acquainted, the means of relief to the subject of his solici-
tude. Here, therefore, the speaker is making the best use of his time, even for that
immediate purpose ; while the passage itself, so touchingly expressing his own sense
of the sweets of social life, as contrasted with that of the wilderness to which he is
yet uninured, is one of those most intimately disclosing that genial nature which
Shakespeare has so studiously developed in this character.
115. command'ment] Walker {Vers. p. 126) notes that in certain words in
-ment the e which originally preceded this final syllable was sometimes retained and
sometimes omitted. Dyce (ed. iii) in a note on Mer. of Ven. IV, i, 471, says that
< commandment ' is to be there read as a quadrisyllable, as also in / Hen. VI: I,
iii. * In all the other passages in Shakespeare where it occurs in his blank verse it
is a trisyllable.' Dyce overlooked the fact in this note on Mer. of Ven. that it
is only by following the text of Q,, as Dyce himself did, that * commandment ' in
that place is a quadrisyllable. In the Folio it follows the rule and is a trisyllable :
< Be vil I u^d I agiinst | your wfues | commandment.' The Quarto reads : < Be
val I ew'd gainst | your wiues | command | em^nt.' Hence the instance in 7 Hen,
VI lemains the only one where, in Shakespeare's blank verse, the word is a quadri-
syllable. Wright notes that the quadrisyllabic form is to be found in Pass. Pil. 418 :
' If to women he be bent They have at commandement.' — Ed.
120. knoU'd] G)tgrave translates Carillonner by <to chyme, or knowle, bells ' ;
and Carillonneur by * a chymer, or knowler, of bells ' ; under Carillon^ however, he
gives, * A chyming of bells ; a knell.' Way, in Prompt. Parv.^ s. v. Knyllynge^ cites
Palsgrave : I knolle a hfAXty Je frappe du batant. Halliwell quotes, ' poor weary souls
that hear the bell knoll.' — Humourous Lieutenant, II, iv [p. 457].
I20 AS YOU LIKE IT [act ii. sc. viL
And know what 'tis to pittie, and be pittied : 123
Let gentleneffe my ftrong enforcement be,
In the which hope, I blufh, and hide my Sword. 125
Du. Sen. True is it, that we haue feene better dayes,
And haue with holy bell bin knowld to Church,
And fat at good mens feafts, and wip'd our eies
Of drops, that facred pity hath engendred :
And therefore fit you downe in gentleneffe, 130
And take vpon command, what helpe we haue
That to your wanting may be miniftred.
Orl. Then but forbeare your food a little while :
Whiles (like a Doe) I go to finde my Fawne,
And giue it food. There is an old poore man, 135
Who after me, hath many a weary fteppe
Limpt in pure loue : till he be firft fuffic'd,
Oppreft with two weake euils, age, and hunger, 138
123. knew] known Han. Johns. 136. a\ Om. F^, Rowe i.
\2S biuflt^bujk Ff.
125. the which] See I, ii, 120.
125. blush] If by chance the misprint of the three later Folios had occurred in
the First, how loudly Shakespeare's classical knowledge would have been extolled,
founded on this clear reference to Harmodius and Aristogeiton ! — Ed.
131. vpon command] Johnson : It seems necessary to read demand y that is, ask
for what we can supply and have it. [In the next Variorum Edition published after
Johnson's death, this note was withdrawn, and in its place, we have] Steevens :
* Upon command,' is at your own command. Colijer [ed. ii, reading with his (MS)
commend'\ : Orlando has previously spoken of < commandment,' which he finds
unnecessary; and here the Duke tells him to *take upon commend^ (as opposed to
command) what he requires. Commend is misprinted *• command ' in the Folios, but
the small, though important error is set right by the alteration of a letter in the (MS).
The verb to commend is explained in our dictionaries, < To give anything into the
hands of another.' Orlando was to take what he needed as a free gift, and not as a
violent enforcement. Dyce (Strictures ^ &c. p. 69) : If Mr Collier had not been under
a sort of spell, thrown over him by the (MS), he never would have tried to expound
such a senseless alteration as * upon commend^ by referring to what precedes, — ^he would
have dismissed it in silence. The meaning of the old reading, though dark to the
(MS), hardly requires a gloss; most people will see immediately that 'upon com-
mand ' is equivalent to < as you may choose to order, — at your will and pleasure.'
134. Whiles] For this genitive of while see Abbott, § 137.
134. Doe] Malone refers to the repetition of this simile xnV, ^ A, 875.
138. weak evils] Caldecott: That is, unhappy weaknesses, or causes of weak-
ness. [See *■ thriftie hire,' II, iii, 41, from which this differs in being a genuine prolep-
sis or anticipation. Walker {Crit. ii, 85, followed by Abbott, § 4) gives the following
examples of this figure so familiar to the ancients, whereby a predicate, which prop-
ACT II. sc. viL] AS YOU LIKE IT 121
I will not touch a bit.
Duke Sen. Go finde him out 140
And we will nothing wafte till you retume.
Orl. I thanke ye, and be bleft for your good comfort
Du Sen. Thou feeft, we are not all alone vnhappie:
This wide and vniuerfall Theater
Prefents more wofull Pageants then the Sceane 145
Wherein we play in.
la. All the world's a ftage, 147
142. Exit. Rowe et seq. 146. Wheretn..,in] Wherein we play
Scene IX. Pope + . Rowe, Pope, Han. Which we do play
in Cap. conj.
erly indicates effect, is made to express cause. Heywood, Silver Age, Lamb's Sped'
menSf vol. ii, p. 229 (Ceres is threatening the earth), * With idle agues I'll consimie
thy swains ; . . . . The rotten showers Shall drown thy seed.' Shakespeare, Sonnet
xiii, 'the stormy gusts of winter's day. And barren rage of death's eternal cold.'
Beau. & R., Mad Lover, III, iv : * Live till the mothers find you And sow their
barren curses on your beauty.' Spenser, Faerie Queene, Bk. vi, C. xi, St xvii (speak-
ing of dogs), * striving each to get The greatest portion of the greedie prey.' Walker
professed to give merely a few instances in other poets ; in Shakespeare are number-
less examples. See ' fair state,' Ham. Ill, i, 152; and instances there cited. — Ed.]
146. Wherein . . . in] Steevens : I believe we should read with Pope, and add
a word at the beginning of the next speech, to complete the measure, viz. : Why, all
the worlds,' &c. Maginn (p. 72) : Qy : * Wherein we play on^* i. e. continue to play.
[See line 95 above.]
147. stage] Steevens : This observation occurs in one of the Fragments [No. X]
of Petronius : ' Non duco contentionis funem, dum constet inter nos, quod fere totus
mundus exerceat histrioniamJ Malone: This observation had been made in an
English drama before the time of Shakespeare. See Damon <Sr* Pythias [x57i»p>3i»
ed. Hazlitt] : * Pythagoras said, that this world was like a stage. Whereon many play
their parts.' In The Legend of Orpheus and Eurydice, 1597, we find these lines :
' Unhappy man Whose life a sad continual tragedie, Himself the actor, in the world,
the stage. While as the acts are measur'd by his age.' Douce (i, 299) : Petronius
had not been translated in Shakespeare's time In Withal's Short Dictionarie in
Laiine and English, 1599, is the following passage : * This life is a certain enterlude
or plaie. The world is a stage full of chang everie way, everie man is a plaier.'
Also in Pettie's translation of Guazzo's Civile conversation, 1586, one of the parties
introduces the saying of some philosopher ' that this world was a stage, we the players
which present the comedie.' See also Mer, of Ven, I, i, 78 : * I hold the world but
as the world, Gratiano ; A stage where every man must play a part.' [One cannot
but wonder after reading such notes as these by Steevens, Malone, and Douce, not to
mention modem editors who have followed them in all seriousness, that it never seems
to have occurred to these editors to ask themselves what is the legitimate inference to
be drawn from their adducing such citations, and whether they are not hereby vir-
tually claiming for such authors as Petronius, or Edwardes, or for Guazzo (almost the
barrenest and jejunest of writers), a fund of originality which they deny to William
122 AS YOU LIKE IT [act ii. sc. vii.
And all the men and women, meerely Players; 148
They haue their Exits and their Entrances,
And one man in his time playes many parts, 150
His A6ls being feuen ages. At firft the Infant,
151. At'\As Cap. conj. Dyce iii.
Shakespeare. — Ed.] Knight: It is scarcely necessary to inquire whether Shake-
speare found the idea in the Greek epigram: 'Zktjv^ Traj* b pioc, koI naiyvtov. ^
fidOe nai^eiVf Tr^ ffirovd^ fieradeiCf ^ ^pe rag 66ivag. — [Palladas, in Atithologia
GracOy X. Proireptika, No. 72. The idea had aknost passed into a proverb. Halli-
well says that the comparison of life to the stage < is of constant occurrence in Eng-
lish writers of the sixteenth and seventeenth centuries.' It is therefore needless to
< shed any more Christian ink ' in compiling what would be merely a bibliography of
the phrase, and of no particle of use in the illustration of Shakespeare. One other soli-
tary reference it is worth while to note. In that same collection of items which Oldys
had gathered for a life of Shakespeare from which we get the anecdote about old
Adam, see line 176 of this Scene, there is another extract, given by Steevens (Var.
'21, vol. i, p. 467), as follows: * Verses by Ben Jonson and Shakespeare, occasioned
by the motto to the Globe Theatre — Tottis mundus agii histriontm,
Jonson. — ^^ If, but stage actors^ all the world displays,
" Where shall we find spectators of their plays ?"
Shakespeare. — ^"^ Little, or much, of what we see, we do ;
" We are all both actors and spectators too."
Poetical Characteristics, 8vo, MS, vol. i, some time in the Harleian Library; which
volume was returned to its owner.* — Ed.]
148. meerely] That is, absolutely, purely.
151. His Acts being seuen ages] Steevens: Dr Warburton observes that this
was ' no unusual division of a play before our author's time ' ; but forbears to offer any
one example in support of his assertion. I have carefully perused almost every dra-
matick piece antecedent to Shakespeare, or contemporary with him ; but so far from
being divided into acts, they are almost all printed in an unbroken continuity of
scenes. I should add, that there is one play of six acts to be met with, and another
of twenty-one ; but the second of these is a translation from the Spanish, and never
could have been designed for the stage. In God^s Promises^ I577» A Tragedie or
Enterlude (or rather a Mystery) ^ by John Bale, seven acts may indeed be found. It
should, however, be observed, that the intervals in the Greek Tragedy are known to
have varied from three acts to seven. Malone: One of Chapman's plays. Two
Wise Men and Ail the Pest Fools^ is in seven acts. This, however, is the only dra-
matic piece that I have found so divided. But surely it is not necessary to suppose
that our author alluded here to any such precise division of the drama. His com-
parisons seldom run on four feet. It was sufHcient for him that a play was distributed
into several acts, and that human life long before his time had been divided into
seven periods. In T%e Treasury of Ancient and Modem Times, 1 61 3, Proclus, a
Greek author, is said to have divided the lifetime of man into seven ages; over each
of which, one of the seven planets was supposed to rule : * The Jirst age is called
Infancy, containing the space of foure years. The second age continueth ten yeares
until he attaine to the age of fourteene : this age is called Childhood. The third age
M
ACT II. sc. vii.] AS YOU LIKE IT 123
[His Acts being seuen ages.]
consisteth of eight yeares, being named by our auncients Adolescencu or Yauthhood;
and it lasteth fixmi fourteene till two and twenty yeares be fully compleate. The
fourth age paceth on, till a man have accomplished two and forty yeares, and is
tearmed Young Manhood, 'Y\iit fifth age^ named Mature Manhood^ hath (according
to the said author) fiiteene yeares of continuance, and therefore makes his progress
so far as six and fifty yeares. Afterwards, in adding twelve to fifty-sixe, you shall
make up sixty-eight yeares, which reach to the end of the sixt age^ and is called Old
Age, The seavenih and last of these seven ages is limited fiom sixty-eight yeares, so
far as four-score and eight, being called weak, declining, and Decrepite Age, If any
man chance to goe beyond this age (which is more admired than noted in many), you
shall evidently perceive that he will retume to his first condition of Infancy againe.'
Hippocrates likewise divided the life of man into seven ages, but differs from Proclus
in the number of years allotted to each period. See Sir Thomas Brown's Enquiries
into Vulgar and Common Errors^ 1686, p. 173 [Book IV, chap, xii : * Of the great
climacterical year']. So also in The Diamant of Devotion, Cut and Squared into
Six Severall Points, by Abraham Fleming, 1586, Part I : * Wee are not placed in this
world as continuers ; for the scripture saith that we have no abiding citie heere, but
as travellers and soioumers, whose custome it is to take up a new inne, and to change
their lodging, sometimes here, sometimes there, during the time of their travell. Heere
we walke like plaiers uppon a stage, one representing the person of a king, another
of a lorde, the third of a plowman, the fourth of an artificer, and so foorth, as the
course and order of the enterlude requireth ; everie acte whereof beeing plaide, there
is no more to doe, but open the gates and dismisse the assemblie. Even so fareth it
with us ; for what other thing is the compasse of this world, beautified with varietie
of creatures, reasonable and unretisonable, but an ample and lai^e theatre, wherein
all things are appointed to play their pageants, which when they have done, they die,
and their glorie ceaseth.' Henley : I have seen, more than once, an old print,
entitled, ' The Stage of Man's Life,' divided into seven ages. As emblematical rep-
resentations of this sort were formerly stuck up, both for ornament and instruction, in
the generality of houses, it is more probable that Shakespeare took his hint from
thence, than from Hippocrates or Proclus. Hunter (i, 341) : The merit of Shake-
speare is not that he invented this distribution, but that he has exhibited it more bril-
liantly, more impressively, than had ever been done before. The beauty and tender-
ness of the thought that life is a kind of drama with intermingling scenes of joy and
sorrow, together with the justness of the sentiment, would have kept this forever in
the public view : but the multitude would probably by this time have wholly lost sight
of the distribution of life into periods, if it had not been embalmed in these never-to-
be-forgotten lines. If it be asked how Shakespeare became acquainted with this dis-
tribution of human life, since he certainly did not read Proclus or Hippocrates, nor
yet Prudentius or Isidore, it might be sufficient to answer that the notion floated in
society, that it was part of the traditionary inheritance of all, which was no doubt the
case. But if a printed authority likely to have met his eye is wanted [reference is
here made by Hunter to Primaudaye's French Academy, 1598, and to * another con-
temporary with Shakespeare, Sir John Feme,' and the distribution in each case is
given ; but as these ' distributions,' and all others which are not the same as Shake-
speare's, are pure surplusage here and now, I have not repeated them. Malone's note
is given in full because the substance of it has been so often repeated by subsequent
editors]. Grant White {^Shahespeare's Scholar, p. 247) gives an extract from Eras-
124 AS you LIKE IT [act ii, sc. viL
[His Acts being seuen ages.]
mus's Praise of Folie^ Englished by Sir Thomas Chaloner, 1549, sig. E, iii, in which
< this life of mortall man ' is likened to < a certain kynde of stage plaie ' in which some-
times one man * comes in two or three times with simdry partes.' [This same passage
was afterwards re-discovered by < G. W. T.* in Notes 6* Queries, 1856, 2d Ser. ii, 44 ;
again in the same volume, p. 207, J. Doran adduced a similar allusion in Calderon.]
Halliwell cites a poem * clepid the sevene ages ' in the Thornton MS'of the fifteenth
century in Lincoln Cathedral; also Arnold's Chronicle [ed. 181 1, p. 157, Wright];
also a lithographic reproduction of ' the Arundel MS, 83/ ' a highly interesting exam-
ple executed in England in the early part of the fourteenth century, in which the
various stages of life are depicted with an artistic merit reflecting great credit on the
ancient delineator.' He also reproduces a wood-cut from the Orbis Sensualium Pic-
tuSy 1689, p. 45, in which the figures are placed on no less than eleven steps. Staun-
ton refers to * some Greek verses attributed to Solon,* * introduced by Philo Judicus
into his LU>er de Mundi opificio ' ; also to an Italian engraving of the sixteenth cen-
tury, by Christopher Bertello, where the school-boy is carrying his books, the lover
bears a branch of myrtle, and at his feet is a young Cupid, the soldier is ' bearded like
the pard,' the justice has an aspect of grave serenity, the sixth age is a senile person-
age in a long furred robe, slippered, and with spectacles on nose, the last scene of all
exhibits the man of eighty, blind and helpless. Staunton also refers to two elaborate
articles, one in the Archaologia, vol. xxvii ; and the other in The Gentleman's Maga-
zine for May, 1853 ; and also to a Monumental Brass dated 1487 in the Hdpital S.
Marie, Ypres, in Belgium. Wright refers to * an interesting paper by Mr Winter
Jones which he published in the Archaologia, xxxv, 167-189, on a block print of the
fifteenth century,' wherein a < good deal of the literature of this subject has been col-
lected ' ; also ' 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 Lebensaiter in der jQdischen
Literatur, and finally Wright refers to ' the pavement of the Cathedral of Siena, of
which a description is given by Rx>fessor Sidney Colvin in The Fortnightly Review,
July, 1875, pp. 53, 54.' C. Elliot Browne in Notes 6* Queries, 5th Ser. vol. v, p.
143, refers to Vaughan's Directions for Health, 1602, and Done's Polydoron, * prob-
ably published early in the seventeenth century.' [If a picture were in Shakespeare's
mind, as Henley suggests, and which seems more likely than not, we can understand
why the number of ages was seven. There were three steps of ascent, the soldier
stood on the summit, and then followed three steps of descent. Five steps would
have been too few, and nine would have been too many. — Ed.]
151. At] Walker {Crit. \, 129) conjectured that this should be as, and included it
among the instances of as used in the sense of to wit. He was, however, anticipated
by Capell. I think the emendation is extremely probable. — Ed.
151, &c. I have found it wellnigh impossible so to divide many of these lines that
the eye may be guided to the rhythm. It is noteworthy that with the exception of
the ' school-boy ' all the < ages ' begin in the latter half of a line, an indication of
the long pause which should precede ; so long, that each of these half lines might
not improperly form a line by itself, thus beginning a new paragraph. But this gives
no help rhythmically to the lines that follow, which, in some cases, if the lines are to
be considered pentameters, remain unalterably trochaic. Indeed, I am not sure that
it would not be the simpler way to regard the whole of this speech as metric prose,
ACT II, sc. vii.] AS YOU LIKE IT 125
Mewling, and puking in the Nurfes armes : 152
Then, the whining Schoole-boy with his Satchell
And fhining morning face, creeping like fnaile
Vnwillingly to fchoole. And then the Louer, 155
Sighing like Furnace, with a wofuU ballad
Made to his Miftreffe eye-brow. Then, a Soldier,
Full of ftrange oaths, and bearded like the Pard, 158
153. Then] And then 'Ro'wtn-k-fCii^, 157. a Soldier] the soldier Dyce iii,
Steev. Ktly, Dyce iii, Wh. ii. Huds.
exquisitely metric prose; until, toward the close, in harmony with the thought, it
glides into the solemn cadence that ^nds this stringe eventful history. — Ed.
154. like snaile] Abbott, § 83 : A'ls still omitted by us in adverbial compounds,
such as 'snail-like,' 'clerk-like,' &c. Then it was omitted as being unnecessarily
emphatic in such expressions as : ' creeping like snail,' ' sighing like furnace.' < Like
snail ' is an adverb in process of formation. It is intermediate between ' like a snail '
and ' snail-like.'
156. Furnace] Malone : So in Cymb. I, vi, 64 : 'a Frenchman .... that, it
seems, much loves A Gallian girl at home ; he furnaces The thick sighs from him.'
157. a Soldier] Dyce (ed. iii) : The Folio has ' a Soldier,' but compare elsewhere
in the present speech ; * the infant,' * the school-boy,' * the lover,* * the justice,' &c.
This correction was suggested to me by Mr Robson. Hunter (i, 343) : It is the
great beauty of Shakespeare that he does not give us cold abstractions, but the living
figures. The blood circulates through them ; it may be quickly or sluggishly, but the
life-blood is there. They are personations of the abstract idea, borrowed from what
was the actual life of many Englishmen of the better class in his time, who went to
the wars and returned to execute the duties and enjoy the quiet majesty of the coun-
try justice. A nice critic might, however, raise the question, how far it was proper
thus to introduce the characters of Soldier and Justice, which are not common to all,
with those accidents of life which belong to all conditions. It might be said that
they are but spirited personations of the active and sedate periods of manhood, which
are common to all ; but the proper answer is, that Jaques was a courtier addressing
courtiers, and he speaks, therefore, of human life as it appeared in one of their own
class.
158. strange oaths . . . bearded] To the following passage in Hen. V: III, vi,
78 Malone refers in illustration of beards^ and Wright in illustration of oaths:
*And this they con perfectly in the phrase of war, which they trick up with new-
tuned oaths ; and what a beard of the general's cut, and a horrid suit of the camp will
do .... is wonderful to be thought on.' ' Our ancestors,' says Malone, ' were very
curious in the fashion of their beards, and a certain cut or form was appropriated to
the soldier, the bishop, the judge, the clown,' &c. He cites a ballad wherein a sol-
dier's beard is described as matching <in figure like a spade,' but the date, 1660, is
rather late to be trusted as a correct description of what is as fickle as fashion. Wright
explains ' bearded like a pard ' by < long pointed mustaches, bristling like a panther's
or leopard's feelers.' This, I think, is doubtful. The beard is not the mustaches, or,
as Stubbes calls them, < the mowchatowes,' showing by the very use of a specific term
that a distinction was made in Shakespeare's day. Does not the present phrase refer
126 AS YOU LIKE IT [act ii, sc. vii.
lelous in honor, fodaine, and quicke in quarrell,
Seeking the bubble Reputation i6o
Euen in the Canons mouth : And then, the luftice
In faire round belly, with good Capon lin'd, 162
to the general shagginess characteristic of a true soldier on duty in the field, as distin-
guished from the trim nicety of a carpet knight, < whose chin new-reap'd shows like a
stubble-land at harvest home ?' — Ed.
159. sodaine] Hunter (i, 339) : A semicolon is necessary here, that we may not
suppose the sense of ' sudden ' to pass over to the next clause, so as to become *■ sud-
den in quarrel ;' while * sudden ' really stands absolutely. It is the same word which
we have in Macb. IV, iii, 59 : ' I grant him sudden/ and it seems to be nearly equiva-
lent to vehement ^ or violent ^ or hasty ^ or perhaps still more txtLC\ly prompt in executing
a resolve. And this suggests what is a new, but probably the true, sense of the clause
* quick in quarrel,' adroit in the duello^ not merely quick and spirited in any dispute.
Halliwell, however, does not acknowledge this distinction, which is to me a good
one ; he says : 'Accepting *' sudden " in the common sense of rash or precipitate, the
phrase " sudden and quick " may be considered as intentionally pleonastic'
i6o. Reputation] Hunter (i, 340) prints this with quotation-marks, regarding it
as * a favorite word of soldiers, at which the cynical Jaques means to sneer, speaking
it as a quotation in a contemptuous manner. Thus Feacham : " then at their return
[as soldiers from the Netherlands], among their companions they must be styled by
the name of Giptain, they must stand upon that airy title and mere nothing called
Reputation y undertake every quarrel," &c. — Truth of our Times, p. 140. And so in
an admirable little work, entitled Vade Mecum, of which the third edition was
printed in 1638, <* The French in a battle before Moncountre, standing upon their
Reputation, not to dislodge by night, lost their reputation by dislodging by day."
This is sufficient to show that there was a military and kind of technical use of the
word, such as might provoke a satirist ; and in this sense it is that Jaques uses it,
meaning to deride it. Shakespeare has, in this play, still more pointed satire on the
affected punctilio of the military profession.'
162. In] Dyce (ed. iii) : 'Read,' says Mr Lettsom, '.^^ ; and six lines below,
"In youthful hose." ' I must confess that I think both these alterations imnecessary.
162. Capon lin'd] Hales (p. 219) : There is an allusion that has been missed in
the mention of the < capon,' an allusion which adds to the bitterness of a sufficiently
bitter life-sketch. It was the custom to present magistrates with presents, especially,
it would seem, with capons, by way of securing their good will and favoiu*. This fact
heightens the satire of Jaques's portrait of an Elizabethan J. P. It gives force and
meaning to what seems vague and general. Wither, describing the Christmas season,
with its burning * blocks,' its * pies,' &c., goes on to sing how : * Now poor men to the
justices With capons make their errants; And if they hap to fail of these. They
plague them with their warrants.' That is, the capon was a tribute fiilly expected
and as good as exacted; it was ' understood ' it should be duly paid in. Singer cites
a member of the House of Conunons as saying, in 1601 : <A Justice of the Peace is a
hving creature that for half a dozen chickens will dispense with a dozen of penal
statutes.' Other illustrations will be found in Davies's Supplementary English Glos-
sary. [Hales quotes from a letter received from the author of this Glossary y wherein
a sermon is mentioned], probably preached very early in the seventeenth century,
which speaks of judges that judge for reward and say with shame, * Bring you ' such
ACT II, sc. VU.J AS YOU LIKE IT 127
With eyes feuere, and beard of formall cut, 163
Full of wife fawes, and modeme inftances,
And fo he playes his part The fixt age fhifts 165
as the country calls ' capon justices/ A further illustration of this morally dubious
custom is to be found in Massinger's Niew Way to Pay Old Debts [IV, ii, where Mr
Justice Greedy, under promise of a yoke of oxen from Wellborn, drives from his pres-
ence Tapwell, whose suit, under promise merely of a pair of turkeys, he had at first
favoured].
163. formall cut] That is, cut with due regard to his dignity. It is not to be
imagined that the nice customs of beards escaped the stem Stubbes. He is particu^
larly entertaining in his * anatomie ' of the barber shops : < The barbers/ he says in his
AnatomU of Abuses ^ 1583 (Part II, p. 50, New Sh. Soc. Reprint), * haue one maner of cut
called the French cut, another the Spanish cut, one the Dutch cut, another the Italian,
one the newe cut, another the olde, one of the brauado fashion, another of the meane
fashion. One a gentleman's cut, another the common cut, one cut of the court, an other
of the country, with infinite the like vanities, which I ouerpasse. They haue also other
kinds of cuts innimierable ; and therefore when you come to be trimed, they will aske
you whether you will be cut to looke terrible to your enimie or aimiable to your freend,
grime & steme in coimtenance, or pleasant & demure (for they haue diuers kinds of
cuts for all these purposes, or else they lie). Then, when they haue done al their
feats, it is a world to consider, how their mowchatowes must be preserued and laid
out, from one cheke to another, yea, almost from one eare to another, and turned vp
like two homes towards the forehead.' Harrison, too, has his fling at the fashions of
beards. On p. 172, ed. 1587, he sa3rs : * Neither will I meddle with our varietie of
beards, of which some are shauen from the chin like those of Turks, not a few cut
short like to the beard of marques Otto, some made round like a mbbing brush, other
with K pique de vant (O fine fashion!) or now and then suffered to grow long, the
barbers being growen so cunning in this behalfe as the tailors. And therefore if a
man haue a leane and streight face, a marquesse Ottons cut will make it broad and
large ; if it be platter like, a long slender beard will make it seeme the narrower ; if
he be wesell becked, then much heare left on the cheekes will make the owner looke
big like a bowdled hen, and so grim as a goose, if G)raelis of Chelmeresford saie
true; manie old men doo weare no beards at all.' — Description of England ^ prefixed
to Holinshed.
164. moderne] Steevens : That is, trite^ common. So in IV, i, 7 of this play.
Dyce : Thai is, trite, ordinary, common. (* Per modo tutto fuor del modern^ uso.' —
Dante, Purg. xvi, 42, where Biagioli remarks, *ModemOf s'usa qui in senso di ordi-
nario.^) [It is not worth while to load the page with the various misunderstandings
of this word, nor with the various passages wherein it occurs. It suffices to say that
it is now understood to bear throughout the meaning of trite, trivial, commonplace,
—Ed.]
164. instances] Schmidt (p. 456) : The fundamental idea of this word in Shake-
speare is ' proof, sign of the tmth of anything,' and hence it can naturally mean ' a
single example.' [Schmidt translates ' modem instances ' by 'Allerwelts-Sentenzen.'
In his Lexicon he gives as the meaning here : *A sentence, a saw, a proverb, anything
alleged to support one's own opinion.' There are few words in Shakespeare that are
used with a greater variety of shades of meaning than this. Schmidt seems to be
correct in his interpretation of it here. — Ed.]
128 AS YOU LIKE IT [act ii. sc. vii.
Into the leane and flipper'd Pantaloone, l66
With fpe6lacles on nofe, and pouch on fide,
His youthfull hofe well (au'd, a world too wide,
For his ftirunke fhanke, and his bigge manly voice.
Turning againe toward childifh trebble pipes, 170
And whiftles in his found. Laft Scene of all.
That ends this ftrange euentfull hiftorie.
Is fecond childifhneffe, and meere obliuion,
Sans teeth, fans eyes, fans tafte, fans euery thing. 174
169. Jhanke] shanks Han. 170. trebbU pipe5'\ trehU, pipes Theob.
166. Pantaloone] Capell (p. 60, a) : Pantaloon and his mates seem to have
fomid their way into England about the year 1607 ; the conjecture is founded upon
an extract from a play of that date intitl'd : Travels of TTiree English Brothers. [This
extract is found in CapelPs School of Shakespeare ^ p. 66, wherein there is the follow-
ing dialogue between Kempe and the * Harlaken ' : ^Kemp. Now Signior, how manie
are you in companie ? Harl. None but my wife and myselfe, sir. Kemp but
the project come, and then to casting of the parts. Harl. Marry sir, first we will
have an old Pantaloune. Kemp. Some iealous Coxcombe,' &c.] Steevens refers to
a curious * Plotte of the deade mans fortune * (reprinted Var. '21, vol. iii, p. 356),
wherein < the panteloun ' is one of the characters, and in one place we find : *■ to them
the panteloun and pescode with spectakles,' which Steevens cites in illustration of the
next line in the present passage, albeit as far as we can see ' pescode ' and not *■ pante-
loun * may have worn the spectacles. The date of this < plotte ' is unknown, but it may
be fairly assumed to be older than CapelPs Travels^ &c. Malone, however, discovered
in Nashe*s Pierce Pennilesse^ &c. 1 592 (p. 92, ed. Grosart) the assertion that 'our
Sceane is more stately fumisht, .... and not consisting like [the foreign scene] of a
Pantaloun, a Curtizan, and a 2Uuiie, but of Emperours,* &c., frx>m which it does not fol-
low that the * Pantaloun * never appeared at all in * our sceane.' Dyce : H Pantalone
means properly one of the regular characters in the old Italian comedy : < There are
four standing characters that enter into every piece that comes on the stage, the Doc-
tor, Harlequin, Pantalone^ and Coviello Pantalone is generally an old cully.'—
Addison's Remarks on Several Parts of Italy ^ &c. p. loi, ed. 1705. H ALU WELL:
It is possible that the term may here be applied more generally. Howell, 1660,
makes a pantaloon synonymous with a < Venetian magnifico.' In Calot's series of
plates illustrating the Italian comedy is one in which the ancient pantaloon is repre-
sented as wearing slippers. Cowden-Clarke : A comic character of the Italian
stage (of Venetian origin, and taken typically of Venice, as Arlechino is of Bergamo,
Policinello of Naples, StentereUo of Florence, &c.), wearing slippers, spectacles, and
a pouch, and invariably represented as old, lean, and gullible. Wright : Torriano
in his Italian Dictionary, 1659, gives, < Pantalone, a Pantalone, a covetous and yet
amorous old dotard, properly applyed in G>medies unto a Venetian.'
167. on nose ... on side] For instances of the omission of the after prepositions
in adverbial phrases, see Abbott, § 90.
171. his sound] For ' its sound;' for the use of its^ see Abbott, § 228.
174. Sans] See line 34, above. Halliwell: The present line may have been
ACT n. sc. vii.] AS YOU LIKE IT 129
Enter Orlando with Adam. 175
Du Sen. Welcome : fet downe your venerable bur-
then, and let him feede. 177
175. Scene X. Pope+. 177. and,„feede} Separate line, Rowe
ii et 5eq.
suggested by the following description of the appearance of the ghost of Admiral
Coligny on the night after his murder at the massacre of St. Bartholomew, which
occurs in Gamier's poem, the Henriade^ 1594^ 'Sans pieds, sans mains, sans nez,
sans oreilles, sans yeux, Meurtri de toutes parts.'
176. venerable burthen] Capell (p. 60, 3) : 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 asked by some of his neighbors what he remem-
bered about him, answered, that he saw him once brought on the stage on another
man's back ; which answer was apply'd by the hearers to his having seen him per-
form in this scene the part of Adam. That he should have done so is made not
unlikely by another constant tradition, that he was no extraordinary actor, and there*
fore took no parts upon him but such as this : for which he might also be peculiarly
fitted by an accidental lameness, which, as he himself tells us twice in his Sonnets,
befell him in some part of life ; without saying how, or when, of what sort, or in what
degree ; but his expressions seem to indicate latterly. [It is well to mark the soiurce
of this monstrous idea that Shakespeare was lame, because, forsooth, in Sonnet 37 he
says : < So I, made lame by fortune's dearest spite,' and *■ Speak of my lameness and
I straight will halt ' in Sonnet 89. Every now and then, in the revolving years, this
idea is blazoned forth as new and original by some one who discovers the Sonnets^ — by
reading them for the first time. Let the original folly rest with Gipell ; few of Shake-
speare's editors can better afford to bear it. The story (which is a pleasant one, and
one, I think, we should all like to believe) that Shakespeare acted the part of Adam,
Steevens, also, found in < the manuscript papers of the late Mr Oldys,' and thus tells it,
Var. 1793, vol. i, p. 65 :] Mr Oldys had covered several quires of paper with laborious
collections for a regular life of our author. From these I have made the following
extracts : * One of Shakespeare's younger brothers, who lived to a good old age, even
some years, as I compute, after the restoration oiKing Charles 11^ would in his younger
days come to London to visit his brother Will^ 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 dramatick entertainments grew the greatest support of our principal,
if not of all our theatres, he continued it seems so long after his brother's death as
even to the latter end of his own life. The curiosity at this time of the most noted
actors [exciting them — Steeven5\ to learn something fi^m 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 [Charles Hart. See Shakespeare's Will. — Steeveni\y 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 inquiries ; and all that could be recollected fi^m him of his brother
Will in that station was, the faint, general, and almost lost ideas he had of having
9
130 AS YOU LIKE IT [act ii. sc. viu
Orl. I thanke you mod for him. 178
Ad. So had you neede,
I fcarce can fpeake to thanke you for my felfe. 180
Du, Sen. Welcome, fall too : I wil not trouble you,
As yet to queftion you about your fortunes :
Giue vs fome Muficke, and good Cozen, fmg. 183
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.' Malone discredits this story as far as the brother of Shakespeare
is concerned, and, after a heartsome sneer at poor old Oldys, says : From Shake-
speare's not taking notice of any of his brothers or sisters in his Will, except Joan
Hart, I think it highly probable that they were all dead in 1616, except her, at least
all those of the whole blood ; though in the Register there is no entry of the burial
of his brother Gilbert, antecedent to the death of Shakespeare, or at any subsequent
period ; but we know that he survived his brother E^dmund. The truth is, that this
account of our poet's having performed the part of an old man in one of his own
comedies, came originally from Mr Thomas Jones of Tarbick, in Worcestershire, who
related it from the information, not of one of Shakespeare's brothers, but of a relation
of our poet, who lived to a good old age, and who had seen him act in his youth.
Mr Jones's informer might have been Mr Richard Quine^, who lived in London, and
died at Stratford in 1656, at the age of 69 ; or of Mr Thomas Quiney, our poet's son-
in-law, who lived, I believe, till 1663, and was twenty-seven years old when his
father-in-law died ; or some one of the family of Hathaway. Mr Thomas Hathaway,
I believe, Shakespeare's brother-in-law, died at Stratford in 1654-5, at the age of 85. —
Var. 1821 y ii, 286. Halliwell-Phillipps {Outlines, p. 160, 5th ed.) gives the fore-
going story of Oldys, and adds : This account contains several discrepancies, but there
is reason for believing that it includes a glimmering of truth which is founded on an
earlier tradition. Collier (Seven Lectures, 6j*c. by Coleridge, 1856, p. xvi) : I have
a separate note of what Coleridge once said on the subject of the acting powers of
Shakespeare, to which I can assign no date ; it is in these words : < It is my persua-
lion, indeed, my firm conviction, so firm that nothing can shake it — the rising of Shake-
speare's spirit from the grave, modestly confessing his own deficiencies, could not alter
my opinion — that Shakespeare, in the best sense of the word, was a very great actor ;
nothing can exceed the judgement he displays upon that subject. He may not have
had the physical advantages of Burbage or Field ; but they would never have become
what they were without his most able and sagacious instructions ; and what would
either of them have been without Shakespeare's plays ? Great dramatists make great
actors. But looking at him merely as a performer, I am certain that he was greater
as Adam, in As You Like It, than Burbage as Hamlet or Richard the Third. Think
of the scene between him and Orlando ; and think again, that the actor of that part
had to carry the author of that play in his arms ! Think of having had Shakespeare
in one's arms ! It is worth having died two hundred years ago to have heard Shake-
speare deliver a single line. He must have been a great actor.'
182. to question] That is, by questioning. So, too, I, i, 109; III, v, 66: < Foule
is most foule, being foule to be z. scoffer,' 1. e. in being. See Abbott, § 356.
ACT n. sc. vii.] AS YOU LIKE IT 131
Song,
BloWy blow J thou winter windij 185
Thau art not fo vnfcinde, as mans ingratitude
Thy tooth is not/o keene^ becaufe thou art notfeene^
although thy breath be rude. 188
184. Amiens sings. Johns. 187. becaufe... feene] Thou causest not
186, 187. As four lines, Pope. tktU teen Han.
186. vnkinde] M alone: That is, thy action is not so contrary to thy kind^ or to
human natiure, as the ingratitude of man. So in Ven. and Ad. 204 : ' O, had thy
mother borne so hard a mind, She had not brought forth thee, but died unkind.'
Dyce: That is, unnatural. Halliwell: But the ordinary meaning of the term
makes here a good, perhaps, a finer, sense. Wright : This literal sense of the word
[t. e. unnatural] appears to be the most prominent here.
187. seene] Warburton : This song is designed to suit the Duke*s exiled condi-
tion, who had been ruined by ungrateful flatterers. Now the * winter wind,' the song
says, is to be preferred to < man's ingratitude.' But why ? Because it is not seen.
But this was not only an aggravation of the injury, as it was done in secret, not seen,
but was the very circumstance that made the keenness of the ingratitude of his faith-
less courtiers. Without doubt Shakespeare wrote the line thus : < Because thou art
not sheeny i. e. smiling, shining, like an ungrateful court-servant, who Batters while he
wounds, which was a very good reason for giving the ' winter wind ' the preference.
The Oxford editor [t. e. Hanmer] who had this emendation communicated to him,
takes occasion to alter the whole line thus : < Thou causest not that teen.' But in his
rage of correction [This, from Warburton. — ^Ed.] he forgot to leave the reason, which
is now wanting. Why the winter wind was to be preferred to man^s ingratitude.
Johnson : Warburton's emendation is enforced with more art than truth. That sheen
signifies shining is easily proved, but when or where did it signify smiling f For my
part, I question whether the original line is not lost, and this substituted merely to fill
up the measure and the rhyme. Yet even out of this line, by strong agitation, may
sense be elicited, and sense not unsuitable to the occasion. < Thou winter wind,' says
the Duke [^]» ' 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.' Farmer : Perhaps it would be as well to read : < Because
the hearths not seen,' y* harts^ according to the ancient mode of writing, was easily
corrupted. Edwards (p. 106) : Shakespeare has equally forgotten, in the next
stanza, to leave the reason, why vl. freezing sky is to be preferred to 2i forgetful friend ;
which, perhaps, may give a reasonable suspicion that the word * because ' in the first
stanza may be corrupt [In quoting this sentence Kenrick (p. 62) suggests that if
'because' is wrong, 'Shakespeare must use the adverb or preposition disjunctive
beside.'''] Heath (p. 147) : What the meaning of the common reading may be, it is
extremely difficult to discover, which gives great ground for suspicion that it may be
corrupt. Possibly it might be intended to be this : The impressions thou makest on
us are not so cutting, because thou art an unseen agent, with whom we have not the
least acquaintance or converse, and therefore have the less reason to repine at thy
treatment of us. Kenrick (p. 65) : The scoliasts seem to blunder in mistaking the
sense of the word ' keen,' which they take to signify sharps cuttings piercing ; whereas
132 AS YOU LIKE IT [act ii, sc viL
Heigh hoy Jing heigh hOy vnto the greene holly y
Mojl frendjhip , isfayning ; mojl Louingy me ere folly: 190
The heigh ho , the holly y
This Life is mojl iolly.
Freizeyfreize , thou bitter skie thatdojl not bight fo nigh
as benefitts forgot :
Though thou the waters warpey thy fling is notfofharpey 195
asfreind remembred not.
Heigh ho yfing , &c. 1 97
191. The] Then Rowe et seq. 193. bight] bite FjF^.
193. As two lines, Pope et seq. 196. remembred] remen^*ring Han.
it only means eager ^ vehement; a sense equally common with the former. The poet
here speaks only of a keenness of appetite ; he does not mention actual biting till he
comes to address a more proper and powerful agent. Besides, if < keen ' here means
sharp, piercing, this line hath the same meaning as [line 195] where the poet is at the
last stage of his climax. And I think he would hardly be g^lty of such a piece of
tautology, in the space of so few lines, or address the less severe and powerful agent
exactly in the same manner as he does that which is more so. Steevens : G>mpare
Lov^s Lab, Z. IV, iii, Z05 : < Through the veWet leaves the wind. All unseen, can
passage find.' Malone: Again, in Meas, for Meas. Ill, i, 124: <Tobe imprison'd
in the viewless winds ^ Harness : I never perceived any difficulty till it was pointed
out by the commentators, but supposed the words to mean that the inclemency of the
wind was not so severely felt as the ingratitude of man, because the foe is unseen, /. e.
unknown, and the sense of injury is not heightened by the recollection of any former
kindness. Staunton : If change is imperative, one less violent [than Warburton's
or Farmer's] will afford a meaning quite in harmony with the sentiment of the song ;
we might read, < Because thou art foreseen^ But the original text is, perhaps, sus-
ceptible of a different interpretation to that it has received. The poet certainly could
not intend that the wintry blast was less cutting because invisible ; he might mean,
however, that the keenness of the wind's tooth was inherent, and not a quality devel-
oped (like the malice of a false friend) by the opportunity of inflicting a hurt unseen.
Rev. John Hunter : I have not met with any satisfactory explanation of this line.
If the text be accurate, I would venture to interpret as follows : < It is not because
thou art invisible, and canst do hurt in secret and with impunity, that thou bitest so
keenly as thou dost.' Here I do not regard the expression ' so keen ' as meaning < so
keen as the tooth of ingratitude.' [It is highly probable that Harness speaks for us
all, and that our first intimation of a difficulty comes from the commentators. Sufficing
paraphrases are given, I think, by Dr Johnson, Heath, and Harness. — Ed.]
189. Heigh ho] White: The manner in which this is said and sung by intelli-
gent people makes it worth noticing that this is * hey ho !* and not the < heigh, bo !'
(pronounced high, hot) of a sigh. It should be pronounced hay-ho.
189. holly] Halliwell: Songs of the holly were current long before the time
of Shakespeare. It was tiie emblem of mirth.
Z95. warpe] Kenrick : The surface of such waters as is here meant, so long as
they remain unfix)zen, is apparently a perfect plane ; whereas when they are fiozen,
ACT II, sc. vii.] AS YOU LIKE IT 133
[Though thou the waters warpe]
this surface deviates from its exact flatness, or warps. This is peculiarly remarkable
in small ponds, the surface of which, when frozen, forms a regular concave, the ice
on the sides rising higher than that in the middle. Johnson : To warp is to turn^
and to turn is to change : when milk is changed by curdling, we say it is turned ;
when water is changed or turned by frost, Shakespeare says it is curdled. To be
warp'd is only to be changed from its natural state. Steevens : Dr Farmer sup-
poses warfd to mean the same as curdled^ and adds that a similar idea occurs in
Coricl, V, iii, 66 : * — the icicle That's curdled by the frost.' Holt White : Among
a collection of Saxon adages in Hickes's Thesaurus^ vol. i, p. 221, the succeeding
appears : ' winter sceal geweorpan weder,' winter shall warp wcUtr, [See Wright's
note,/<7j/.] So that Shakespeare's expression was anciently proverbial. Whiter:
< Warp ' signifies to contract^ and is so used without any allusion to the precise physi-
cal process which takes place in that contraction. Cold and winter have been always
described as contracting ; heat and summer as dissolving or softening. The cold is
said to ' warp the waters ' when it contracts them into the solid substance of ice and
suffers them no longer to continue in a liquid or flowing state. Nares : It appears
that to <warp' sometimes was used poetically in the sense of to Tveave, from the
Toarp which is first prepared in weaving cloth. Hence [the present passage] may be
explained, ' though thou weave the waters into a firm texture.' Caldecott : In III,
iii, 80, Jaques says, ' then one of you will prove a shrunk pannel ; and, like green
timber, warp, warp ;' and from the inequalities it makes in the surface of the earth
the mo\^-warp (or mole) is so denominated. And see Golding's Oindy II [p. 22
verso, ed. 1567] : < Hir handes gan warpe and into pawes ylfauordly to grow.'
' Curvarique manus et aduncos crescere in ungues Gsperunt' [It is proper to repeat
the foregoing notes here, erroneous in the main though they be, because some of them,
in whole or in part, are fotmd in modem editions. But the note which supersedes all
others, and which conclusively determines the meaning, is as follows :] Wright : In
the Anglosaxon 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 Ger-
man werfen, and by the latter with Anglosaxon hiveorfan and Gothic 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 derivative. So in Mecu. for
Meas, I, i, 15, Shakespeare uses it as equivalent to 'swerve,' to which it may be ety-
mologically akin : < There is our commission From which we would not have you
warp.* Hence * warped,' equivalent to distorted^ in Lear^ III, vi, 56 : « And here's
another, whose warp'd looks proclaim What store her heart is made on.' With which
compare Wint. Tale^ I, ii, 365 : * This is strange : methinks My favour here begins to
warp.' And AlVs Well, V, iii, 49 : * Contempt his scornful perspective did lend me
Which warp'd the line of every other favour.' In the present passage Shakespeare
seems to have had the same idea in his mind. The effect of the freezing wind is to
change the aspect of the water, and we need not go so far as Whiter, who insists that
' warp ' here means to contract, and so accurately describes the action of firost upon
water. A fragment from a collection of gnomic sajrings, preserved in Anglosaxon in
the Exeter (MS), has been quoted by Holt White and repeated by subsequent com-
mentators under the impression that it illustrates this passage. This impression is
founded on a mistake. [White renders the fragment 'winter shall warp water.']
But, unfortunately, * water ' is not mentioned, and the word so rendered is ' weather,'
that is, < fair weather,' and is moreover the subject of the following and not the object
134 ^S you LIKE IT [act ii, sc. vii.
DuieSen.I{tii2± you were the good Sir Rowlands fon, 198
As you haue whifper^d faithfully you were,
And as mine eye doth his effigies witneffe, 200
Moft truly limn'd, and liuing in your face,
Be truly welcome hither : I am the Duke
That louM your Father, the refidue of your fortune,
Go to my Caue, and tell mee. Good old man,
Thou art right welcome, as thy mailers is ; 205
Support him by the arme : giue me your hand.
And let me all your fortunes vnderftand. Exeunt 207
198. 199. were] are Dyce conj. 205. mafters\ F,.
of the preceding verb. [In Caldecott's quotation from Golding's Oind] the idea of
bending or tumingi and so distorting, is again the prominent one. We may, therefore,
miderstand by the warping of the waters either the change produced in them by the
action of the frost or the bending and ruffling of their surface caused by the wintry
wind.
196. remembred not] Capell (p. 61) : This is subject to great ambiguity in this
place ; as signifying who is not remember*d by his friend, as well as who has no
remembrance of his friend ; which was sometimes its signification of old, and is so
here. Malone: < Remember*d ' for remembering. So afterwards. III, v, 136 : 'And
now I am remembred,' 1. e, 'and now that I bethink me.' Whiter replies to
Malone : Certainly not. If ingratitude consists in one friend not remembering another,
it surely must consist likewise in one friend not being remembered by another. So in
the former line, ' benefits forgot ' by our friend, or our friend forgeUing benefits, will
prove him equally ungrateful. Moberly : As what an unremembered friend feels-^
compendiary comparison.
199. whisper'd] By the use of this word we are artfully told that the Duke and
Orlando had carried on a subdued conversation during the music. How old this
practice is, and what vitality it has !— Ed.
200. effigies] A trisyllable, with the accent on the second syllable.
203. residue] By considering the unaccented 1 in the middle of this word as
dropped, Abbott, § 467, thus scans : * That 16v'd | your father : | the r£si | due ^f |
your f6rtune.' [Again, I doubt — Ed.]
205. Thou] Note the change of address to a servant— Ed.
I* ..
ACT III. SC. i.] AS YOU LIKE IT 13S
A6lus Tertius . Scena Prima.
Enter Duke^ Lordsy & Oliuer.
Du, Not fee him fince ? Sir , fir, that cannot be :
But were I not the better part made mercie,
I fhould not feeke an abfent argument
Of my reuenge, thou prefent : but looke to it, 5
Finde out thy brother wherefoere he is,
Seeke him with Candle : bring him dead, or Huing
Within this tweluemonth, or turne thou no more
To feeke a iiuing in our Territorie.
Thy Lands and all things that thou doft call thine, lO
Worth feizure, do we feize into our hands,
Till thou canft quit thee by thy brothers mouth.
Of what we thinke againft thee,
01. Oh that your Highneffe knew my heart in this :
I neuer lou'd my brother in my life, 15
Duke.More villaine thou. Well pufh him out of dores
1. The Palace. Rowe. 4. /eeke\fee Ff.
Duke] Duke junior, dp. Duke 7. with Candle] instantly Cartwright
Frederick Mai. 8. twelttemonth'] tweluemoneth F^F^.
2. fee\ seen CoU. (MS) ii, iii, Sing. z6. WeUpuJh'] Well^Pusk Johns.
KUy, Huds.
3. the better part] See, for similar omissions of prepositions, Abbott, § 202. Cf.
<all points,* I, iii, 123.
4. argument] Johnson : An argument is used for the contents of a book ; thence
Shakespeare considered it as meaning the subject^ and then used it for subject in yet
another sense. [Cf. I, ii, 278.]
5. thou present] Abbott, $ 381 : The participle is sometimes implied in the case
of a simple word, such as ' being.'
7. Candle] Steevens : Probably alluding to St Luke, xy, 8.
zz. seise] The usual legal term for taking possession. It is doubtful, however,
whether < seizure ' be used in a legal sense, although I am not sure that a nice legal
point might not be herein detected by a wild enthusiast for the still wilder theory
that Shakespeare was not the author of these plays. As there can be in strict law no
< seizure ' until after < forfeiture,' the forfeiture in the case before us is made alternative
upon Oliver's producing the body of Orlando, in which case a ' verbal seizure ' will
hold. Clearly, therefore, it is this seizure in posse which is here intended, and not a
seizure which can follow only conviction and forfeiture ; the term is thus used in its
strictest, choicest, legal sense, and approves the consummate legal knowledge of
I should say, Shakespeare.— Ed.
136 AS you LIKE IT [act iil. sc. i
And let my officers of fuch a nature 17
Make an extent vpon his houfe and Lands:
Do this expediently, and tume him going. Exeunt 19
18. extent] Lord Campbell (p. 49) : A deep technical knowledge of law is here
displayed, howsoever it may have been acquired. The usurping Duke wishing all
the real property of Oliver to be seized, awards a writ of extent against him, in the
language which would be used by the Lord Giief Baron of the Court of Exchequer,
an extendi facias applying to house and lands, as a fieri facias would apply to goods
and chattels, or a capias ad satisfaciendum to the person. [I cannot but think that
the present is a passage which so far from showing any ' deep technical knowledge of
law,* shows not much more than the ordinary knowledge (perhaps even a little vague
at that), which must have been almost universal in Shakespeare's day, when statutes
merchant and statutes staple were in common use and wont. It may be even pos-
sible that there is here an instance of that confusion which follows like a fate drama-
tists and novelists who invoke the law as a Deus ex machind. That Shakespeare is
wonderfully correct in general is continually manifest. But I doubt if the present be
one of the happiest examples. Lord Campbell, when he says that the Duke aims at
Oliver's realty by this writ of extent^ overlooked the fact that the Duke had already
< seized ' not only all Oliver's realty, but even all his personalty, by an act of arbitrary
power. After this display on the part of the Duke that he should invoke the aid of
the sheriff and proceed according to due process of law and apply for a writ of extendi
faciasy which could only issue on due forfeiture of a recognizance or acknowledged
debt (under circumstances which had not here occurred), is inconsequential, to say the
least, and betokens either a confused knowledge of law (which could be only doubt-
fully imputed to Shakespeare), or an entire indifference to such trivial details or sharp
quillets which only load without helping the progress of the plot. It was dramatic-
ally necessary that Oliver should be set adrift, houseless and landless, in order that he
and Orlando should hereafter meet ; how he was to be rendered hoiiseless and land-
less was of little moment, the use of a legal term or so would be all-sufficient to create
the required impression ; officers of the law are ordered to make ' an extent ' upon his
house and lands, and the end is gained. A < deep technical knowledge ' of the writ
of extendi facias iti Shakespeare's day would know that with the lands and goods of
the debtor in cases where the Crown was concerned, as here, the sheriff was com-
manded to take the body also ; but this would never do in the present case ; Oliver
must not himself be detained; he has to be sent forth, somewhere to meet with
Orlando ; either the sheriff will have to apply to the Court for instructions or the writ
must be radically modified. In short, b it not clear that the law here, as it is in The
Merchant of Venice^ is invoked merely for dramatic purposes, and was neither intended
to be shrilly sounded nor technically exact ? — Ed.]
19. expediently] Johnson: That is, expeditiously. [For other instances of
' expedient,' in the sense of expeditumSf see Schmidt, s, v.]
u.
ACT III. sc. ii.] AS YOU LIKE IT 137
Scena Secunda.
Enter Orlando.
OrL Hang there my verfe, in witneffe of my loue,
And thou thrice crowned Queene of night furuey
With thy chafte eye, from thy pale fpheare aboue
Thy Huntreffe name, that my full life doth fway, S
O Rofalindy thefe Trees fhall be my Bookes,
And in their barkes my thoughts He charradler,
That euerie eye, which in this Forreft lookes,
Shall fee thy vertue witneft euery where.
Run, run Orlando^ carue on euery Tree, 10
The faire, the chafte, and vnexprefliue fhee. Exit
I. The Forrest. Rowe. 3. thrice cr<rumed'\ thrice - crowned
Orlando] with a Paper, dp. Theob. et seq.
5. name"] fame Anon.
3. thrice crowned Queene] Johnson : Alluding to the triple character of Proser-
pine, Cynthia, and Diana, given by some mythologists to the same goddess, and com-
prised in these memorial lines : < Terret, lustrat, agit ; Proserpina, Luna, Diana ; Ima,
supema, feras ; sceptro, fulgore, sagittis^' Singer : Shakespeare was doubtless famil-
iar with Chapman's Hymns^ and the following from Hymnus in Cynthiam^ I594> niay
have been in his mind : *■ Nature's bright eye-sighty and the night's fair soul, That with
thy triple forehead dost control Earth, seas, and hell.' [Although this has been
repeated by four or five subsequent editors, I fail to detect any grounds for the suppo-
sition that Shakespeare had ever seen the passage. — Ed.]
5. Thy Huntresse name] Cowden-Clarke: Orlando calls his mistress one of
Diana's huntresses, as being a votaress of her order ; a maiden lady, a virgin princess.
Just as Hero is styled the < virgin knight ' of the < goddess of the night.'
5. tway] Stkevens: So in Twelfth A''. II, v, 118: * M, O, A, I, doth sway my
life.'
II. vnezpressive] Johnson: For inexpressible. Malone: Milton also :* With
ttnexpressive notes to Heaven's new-bom Heir.' — Hymn to the Nativity ^ 116. Cal-
DECOTT quotes LycidaSy 176: 'And hears the tmexpressive nuptial song.' Walker
{Crit. i, 179) gives many instances of adjectives in -vve that <are frequently used by
Shakespeare and his contemporaries, so to speak, in a passive sense.' On p. 182 he
asks : * Did this usage originate in the unmanageable length of some of the adjectives
in able and t^Zr, as umuppressibUy uncomprehensible f* The corresponding section in
Abbott is % 3.
II. shee] For other instances where he and she are used for man and woman^ see
Abbott, § 224. See line yj^^post.
138 AS YOU LIKE IT [act hi, sc. ii.
Enter Corin & Clowne. 12
Co. And how like you this (hepherds life Mr Touchjlone^
Clow, Truely Shepheard, in refpedl of it felfe, it is a
good life ; but in refpedl that it is a shepheards life, it is 15
naught. In refpedl that it is folitary, I like it verie well :
but in refpedl that it is priuate, it is a very vild life. Now
in refpedl it is in the fields, it pleafeth mee well : but in
refpedl it is not in the Court, it is tedious. As it is a fpare
life(looke you) it fits my humor well : but as there is no 20
more plentie in it, it goes much againft my ftomacke.
Has't any Philofophie in thee fhepheard ?
Cor. No more, but that I know the more one fickens,
the worfe at eafe he is : and that hee that wants money,
meanes, and content, is without three good frends . That 25
the propertie of raine is to wet, and fire to burne: That
pood pafture makes fat flieepe : and that a great caufe of
the night, is lacke of the Sunne : That hee that hath lear-
ned no wit by Nature, nor Art, may complaine of good
breeding, or comes of a very dull kindred. 30
Clo. Such a one is a naturall Philofopher :
12. Scene III. Pope + . 27. pood'\ F,.
13. Mr\ M, FjF^. master Steev. et 29, 30. good*., or] bad breedings and
seq. Han. gross... or Warb.
22. HasU] Hast Pope. 31, 32. Prose, Pope et seq.
22, 32. Has't . . . Was't] For instances of the omission of the pronoun, see
Abbott, $401.
29. complaine of] Johnson : I am in doubt whether the custom of the language
in Shakespeare's time did not authorise this mode of speech, and make < complain of
good breeding * the same with < complain of the want of good breeding.' In the last
line of the Mer. of Ven. we find that to * fear the keeping ' is to ' fear the not keep-
ing.' Capell : May complain of it for being no better, or for having taught them no
better. Whiter : This is a mode of speech conmion, I believe, to all languages, and
occurred even before the time of Shakespeare : EZ r* hp^ fty* evx<^^ iirifikfi^era^, elff
ixard/iPTjc. — It. i, 65 — * Whether he complains of the want of prayers or of sacrifice.'
31. naturall] Warburton : The shepherd had said all the philosophy he knew
was the property of things, that < rain wetted,' < Bre burnt,' &c. And the Clown's
reply, in a satire on physicks or natural philosophy, though introduced with a quibble,
is extremely just. For the natural philosopher is indeed as ignorant (notwithstanding
all his parade of knowledge) of the efficient cause of things as the rustic. It appears,
from a thousand instances, that our poet was well acquainted with the physicks of his
time; and his great penetration enabled him to see this remediless defect of it.
Steevens: Shakespeare is responsible for the quibble only; let the commentator
answer for the refinement. Mason : The clown calls Corin a < natural philosopher,'
ACT III, sc. u.] AS YOU LIKE IT 139
Was't euer in Court, Shepheard? 32
Car. No truly.
Clo. Then thou art damn'd.
Cor. Nay, I hope. 35
Clo. Truly thou art damn'd, like an ill roafled Egge,
all on one fide.
Car. For not being at Court ? your reafon.
Clo. Why, if thou neuer was't at Court, thou neuer
faw'ft good manners : if thou neuer faVft good maners, 40
32, 39. wa^f] Ff, Rowc. wast Pope. 35. hope."] hope — Rowe et seq.
because he reasons from his observations on nature. Malone : A natural being a
common term for a fool, Touchstone, perhaps, means to quibble on the word. Cal-
DECOTT : So far as reasoning from his observations on nature, in such sort a philoso-
pher ; and yet as having been schooled only by nature, so far no better than a fool, a
motley fool. [See I, ii, 51.]
36, 37. Truly . . . side] Johnson : Of this jest I do not fully comprehend the
meaning. Steevens : There is a proverb that ' a fool is the best roaster of an egg,
because he is always turning it.* This will explain how an egg may be * damn'd
all on one side ' ; but will not sufficiently show how Touchstone applies his similie
with propriety ; unless he means that he who has not been at court is but half edu-
cated. Malone : Touchstone only means to say that Corin is completely damn'd ; as
irretrievably destroyed as an egg that is utterly spoiled in the roasting, by being done
all on one side only. [It is by no means easy to decide here on the best punctuation.
It is likely, I think, that it was the punctuation of the Folios which misled Dr John-
son and prevented him from seeing that < all on one side ' applies to the egg and not
to the < damn'd.' An illustration of the perplexity which may attend the placing of
even a comma is to be found in the texts of the Cambridge Edition, of the Globe, and
of the Clarendon. In the first and second the text is punctuated : < Thou art damned
like an ill-roasted egg, all on one side,' which is not good, and would not have helped
Dr Johnson. In the Clarendon Edition, however, Wright, improving on the Cam-
bridge and Globe texts, thus punctuates : < Thou art damned, like an ill-roasted egg
all on one side,' which would have made the jest as clear to Dr Johnson as it does to
us all. — Ed.]
39, &c. Warburton : This reasoning is drawn up in imitation of Friar John's to
Panurge in Rabelais : < Si tu es cocqu. Ergo ta femme sera belle. Ergo seras bien
traict^ d'elle : Ergo tu auras des amys beaucoup ; ergo tu seras saulu6 ' [Liv. Ill,
cbi^. xxviii. Although there is no good ground for supposing that there is any con-
nection here between Shakespeare and Rabelais, yet it is worth while to note all
these parallelisms; they have lately attracted attention at home and in Germany.
—Ed.].
40. maners] Caldecott {App. p. 19) : Good manners (and manners meant
moralsy no such term as morals being to be found in the dictionaries of these times)
signified urbanity or civility, t. e. cultivated, polished manners as opposed to rusticity,
t. e, coarse, unformed, clownish, or iU-manners, He, then, that has only good prin-
ciples and good conduct, without good breeding and civility, is short of perfection by
the half; and for want of this other half of that good^ which is necessary to salvation.
I40 AS YOU LIKE IT [act hi, sc. ii.
then thy manners muft be wicked, and wickednes is fin, 41
and finne is damnation: Thou art in a parlous ftate fhep-
heard.
Cor. Not a whit Touch/lone , thofe that are good ma-
tters at the Court, are as ridiculous in the Countrey, as 45
the behauiour of the Countrie is moft mockeable at the
Court You told me, you falute not at the Court, but
you kiffe your hands; that courtefie would be vncleanlie
if Courtiers were fhepheards.
Clo. Inftance, briefly : come, inftance. 50
Cor. Why we are ftill handling our Ewes, and their
Fels you know are greafie,
Clo. Why do not your Courtiers hands fweate ? and
is not the greafe of a Mutton, as wholefome as the fweat 54
42. parlous] patulous Cap. 44. are] have F F^, Rowe i.
44. Touchftone] Mr. Touchstone Cap. 54. a"] Om. F^F^, Rowe, Pope, Han.
Master Touchstone Dyce Hi, Huds.
or the perfect man, is like a half-roasted egg, damn'd on one side. The earlier sense
of the word manners, as * manners makyth man,' the motto of William of Wykeham
(and familiar to us almost as the Bible translation of the passage in Euripides : < Evil
communications corrupt good manners '), occurs in the works of an old pedagogue :
* I wyll somewhat speke of the scholer's maners or duty : for maners (as they say)
maketh man. De discipulorum moribus pauca contexam. Nam mores (ut aiunt)
hominem exomant.' — Vulgaria, Robert! Whittintoni, 1521. As it does in Milton's
AreopagUica : ' That also, which is impious or evil absolutely against faith or manners,
DO law can possibly permit, that tends not to unlaw itself.'
42. parlous] RiTSON (p. 133) : A corruption of perilous, Dyce also gives alarm-
ing^ amazing, keen, shrewd. CoLLiER suggests that it may even sometimes mean
talkative, * as in Day's Law TVichs, z6o8 : "A parlous youth, sharp and satirical.*'
Perhaps, being '* sharp and satirical," the youth was on that Accovmi perilous or " par-
lous." ' Wright : The spelling represents the pronunciation.
44. Not a whit] Wright : As * not ' is itself a contraction of nAwiht or nawhit,
not a whit ' is redundant.
44. Touchstone] See Textual Notes. Dyce: Capell is doubtless right The
Folio omits Master, But compare Corin's first speech in this scene; and let us
remember that the word Master, being often expressed in Mss by the single letter
M, might easily be omitted. [How if Shakespeare intended to indicate increasing
familiarity on the part of tiie shepherd ? — Ed.]
47. but] Abbott, § 125 : That is, without kissing your hands.
51. still] That is, constantly. See Shakespeare, /oxn'm.
52. Fels] A word of common occurrence in this country. From the fact that
Wright has an explanatory note, and cites Florio, Chapman, and the Wiclifite Ver-
sion of Job, it is to be inferred that the word is measurably lost in England. — ^Ed
54. a Mutton] Compare 'As flesh of muttons.' — Mer. of Ven, I, iii, 172.
ACT III. sa ii.] AS YOU LIKE IT 141
of a man? Shallow, (hallow: A better inflance I fay : 55
Come.
Cor. BefideSjOur hands are hard.
Clo. Your lips wil feele them the fooner. Shallow a-
gen : a more founder inftance, come.
Cor. And they are often tarred ouer, with the furgery 60
of our (heepe : and would you haue vs kiffe Tarre ? The
Courtiers hands are perfum'd with Ciuet
Clo. Moft (hallow man : Thou wormes meate in re-
fpefl of a good peece of fle(h indeed : leame of the wife
and perpend : Ciuet is of a bafer birth then Tarre, the 65
verie vncleanly fluxe of a Cat Mend the inftance Shep-
heard.
Cor. You haue too Courtly a wit, for me, He reft.
Clo. Wilt thou reft damn'd? God helpe thee (hallow
man : God make incifion in thee, thou art raw, 70
Cor. Sir, I am a true Labourer, I eame that I eate : get
that I weare ; owe no man hate, enuie no mans happi- 72
59. more\ Om. Pope, Han. 63. wormes tneat'\ worms-meat Rowe.
60. ouer^ witk\ overunth F . 64. /UJh indeed :\fieshj indeed! Theob,
62. Courtiers'] Countiers F^. Warb, Jlesh — indeed I — Johns. Jlesh :
63. Jhallow man .•] shallow y man : Indeed! — Steev.
Rowe. shallow man ! Theob. indeed] ndeed F,.
59. more sounder] For other instances of double comparatives, see Abbott, § 1 1.
63. wormes meate] Wright : It is not impossible that this expression may have
struck Shakespeare in a book which he evidently read, the treatise of Vincentio
Saviolo, in which [ The 2. Booke^ between sig. G g 3 and H] a printer's device is found
with the motto : *0 wormes meate. O froath : O vanitie. Why art thov so
INSOLENT.*
65. perpend] Schmidt : A word used only by Polonius, Pistol, and the Gowns.
66. Cat] Cotgrave: 'Civette: f. Ciuet; also (the beasts that breeds it) a Ciuet
cat*
70. incision] Heath (p. 147) : That is, God give thee a better understanding ;
thou art very raw and simple as yet. The expression probably alludes to the common
proverbial saying, concerning a very silly fellow, that he ought to be cut for the sim-
ples. Caldecott : That is, enlarge, open thy mind. Collier : Heath's explana-
tion seems supported by the next speech of Touchstone, < That is another simple sense
in you.' Grant White : The meaning of this phrase, which evidently had a well-
known colloquial significance, has not been satisfactorily explained. Heath's expla-
nation is the more plausible ; but the meaning has probably been lost. Wright : The
reference is to the old method of cure for most maladies by blood-letting.
70. raw] Malone : That is, thou art ignorant, inexperienced. [This word it is
which, to me, throws a doubt on the explanations that have been offered of ' incision.*
—Ed.]
142 AS YOU LIKE IT [act hi, sc. ii.
neffe : glad of other mens good content with my harme : 73
and the greateft of my pride, is to fee my Ewes graze, &
my Lambes fucke. 75
Clo. That is another fimple fmne in you, to bring the
Ewes and the Rammes together, and to offer to get your
liuing, by the copulation of Cattle, to be bawd to a Bel-
weather, and to betray a (hee-Lambe of a tweluemonth
to a crooked-pated olde Cuckoldly Ramme, out of all 80
reafonable match. If thou bee'ft not damn'd for this, the
diuell himfelfe will haue no (hepherds, I cannot fee elfe
how thou (houldfl fcape.
Cor. Heere comes yong yi'Ganimed^ my new Miftrif-
fes Brother. 85
Enter Rofalind.
Rof, From the eajl to wejleme Inde^
no iewel is like Ro/alindej
Hir worth being mounted on the winde^
through all the world beares Ro/alinde. 90
All the piilures fairejl Linde^
are but blacke to Ro/alinde : 92
73. ^'iW] ^<W, Ff et seq. 86. Enter...] Enter.. .with a paper.
78. bawd"] a bawd¥^^y Rowe + . Rowe.
79. tweluemonth'] twetvetwrneth F^. 87. weileme] the western Pope, Han.
twelve-month old Han. Inde] Jude F^.
82. elf el Om. F,F^, Rowe. 89. Hir] F,.
84. yong] Om. F^F^, Rowe. 90. beares] beards F^.
Mr\M.Y^, wAf/^ Steev. et seq. 91. Linde] F,F^. Lind F^, Rowe.
84, 85. Mijlrijfes] mistres^ Cald. Knt, limned Johns. Cap. Mai. '90. lUCd Pope
Wh. i. et cet
86. Scene IV. Pope+.
73. harme] Knight : Resigned to any evil. Rolfe : * Patient in tribulation.'
84. Mistrisses] Keightley (Exp, 159) : Though it stands thus in the Folio,
metre and the usage of the time reject the i, \Aliquando dormitat^ &c. There is no
metre here to demand a change. — Eo.]
87. Inde] Walker {Crit. iii, 62) : This is the old pronunciation of Ind^ or rather,
as in the Folio, Inde, Fairfax's Tasso^ B. v, st. lii, <And kill their kings from ^ypt
unto Inde,' rhyming with mindznd. inclined: and so 6. vii, st XxiHy Jinde^Inde—binde.
Spenser, Faerie Queene, B. i, C. v, st. iv, Ynd (Ind), rhyming with bynd vid assynd.
And so C. V, St. ii, behind^ unkind^ find, Ynd. Drayton, Pofy-olbum, Song ii, < ships
That from their anchoring bays have travelled to find Large China's wealthy realmes,
and view'd the either Inde.' Sylvester's Dubartas, ii. ii. ii. ed. 1641, p. 124, • Mqre
golden words, than in his crown there shin'd Pearls, diamonds, and other gems of
Inde.' Carew, ed. Clarke, cxxi, p. 164, < Go I to Holland, France, or furthest Inde,
I change but only countries, not my mind.' Did not Milton thus pronounce it. Par,
ACT III, sc. ii.] AS YOU LIKE IT 143
Let no face bee kepi in ndnd^ 93
but the f aire of Rofalinde.
Clo. He rime you fo, eight yeares together ; dinners, 95
and fuppers, and fleeping hours excepted : it is the right
Butter-womens ranke to Market 97
94. faire of] mod fair F,F^, Rowe i. Var. *2I, Cald. Knt, Sing. Hal. Ktly,
face of Rowe ii+, Cap. Dyce iii, Huds. Coll. iii.
fair face of Ktiy conj. 97. ranke'\ rate Han. Johns. Steev.
97. wometu] womatCs Johns. Steev. Mai. canter Cartwright.
Z, ii, 2 ? — * High on a throne of royal state, that far Outshone the wealth of Ormus or
of Ind.* Wright : In Lcv^s Lab, Z. IV, iii, 222, * Inde * rhymes with * hlind.'
91. Linde] Steevens: That is, most fairly delineated. Whiter: The most
beautiful lines or touches exhibited by art are inferior to the natural traits of beauty
which belong to Rosalind.
93f 94< fi^c® • • • fairc] Steevens : < Fair ' is beauty , complexion. Compare
Lodge's Novel: 'Then muse not nymphes, though I bemone The absence of faire
Rosalynde, Since for her faire there is fairer none.' [See Appendix, Rosalyndes
Description ; in Rosader*s Third Sonnet * faire ' is four times used in the sense of
beauty. Walker {Crit. i, 327) proposed to retid fair in line 93; Dyce, who followed
Rowe in reading y^r^ in line 94, objected to it on account of ' fairest ' just above. Both
changes. Rowers and Walker's, are plausible and attractive, but we ought alwajrs reso-
lutely to set our fair faces against any change which is not imperatively demanded ;
as Dr Johnson says, the compositors who had Shakespeare's text before them are more
likely to have read it right than we who read it only in imagination. — Ed.]
96. right] True, exact, downright. See line iig, post, <the right vertue of the
Medler.'
97. ranke] Grey (i, 180) : A friend puts the qu. If < butter-woman's rant at
market ' might not be more proper. Capell (p. 61) : * Rank ' means the order
observ'd by such women; travelling all in one road, with exact intervals between
horse and horse. Steevens : The sense designed might have been, it is such wretched
rhyme as the butter-woman sings as she is riding to market. So, in Churchyard's
Charge, 1 5 80, *And use a kinde of riding rime.* Again in his Farewell from the
Courte : <A man maie, says he, use a kinde of ridyng rime* [Steevens also refers
to the Scotch rcUt rime, which Jamieson, j. v., defines as ' any thing repeated by rote,
especially if of the doggerel kind.'] Henley : The clown is here speaking in ref-
erence to the ambling pace of the metre, which, after giving a specimen of, to prove
his assertion, he affirms to be ' the very false g^lop of verses.' Malone : A passage
in Airs Well, IV, i, 44 : < Tongue, I must put you into a butter-woman's mouth, and
buy myself another of Bajazet's mule, if you prattle me into these perils,' once induced
me to think that the volubility of the butter-woman selling her wares at market was
alone in our author's thoughts, and that he wrote * rate at market ' [which is a modi-
fication of the emendation proposed by Grey's ' friend.'— Ed.] ; but I am now per-
suaded that Hanmer's emendation is right. The hobbling metre of these verses (sajrs
Touchstone) is like the ambling, shuffling pace of a butter-woman's horse, going to
market. The same kind of imagery is found in / Hen, IV: III, i, 134: 'mincing
poetry ; 'Tis like the forced gait of a shufHing nag.' Whiter (p. 30) : If rate con-
144 AS YOU LIKE IT [act hi, sc. ii.
[ Butter- womens ranke to Market]
veys a sense suitable to the occasion, 'rank' will certainly be preferable; as it
expresses the same thing with an additional idea; and perhaps the very idea in
which the chief force of the comparison is placed. * The right Butter- women's rank
to market' means ih^ jog-trot rate (as it is vulgarly called) with which Butter- women
uniformly travel one after another in their road to market ; in its application to Orlan-
do's poetry, it means a set or string of verses in the same coarse cadence and vulgar
uniformity of rhythm. Caldecott : In the same sense we have, * The rank of
oziers by the murmuring stream.' — IV, iii, 83. [To Steevens's instances of riding
rhymes Caldecott adds from Puttenham's Arte of English Poesie, p. 76, ed. Arber :]
* Chaucer's other verses of the Canterbury Tales be but riding ryme, neuerthelesse very
well becomming,' &c. [Guest {Hist, of Eng. Rhythms, vol. ii, p, 238) says : * The
metre of Bve accents with couplet rhyme, may have got its earliest name of * riding
rhyme ' from the mounted pilgrims of the Canterbury Tales.' — Ed.] Knight : We
think that Whiter's explanation is right; and that Shakespeare, moreover, had in
mind the pack-horse roads, where one traveller must follow another in single rank,
"Walker (CW/. iii, 62) : Not, I think, * rhyme * (rime — ranke), on account of the
repetition. [This I do not understand. — Ed.] At any rate, rank is wrong. [To
this Lettsom adds the following foot-note :] ' Rank,' no doubt, is rank nonsense
Hanmer's rate seems to me the genuine word. Even Whiter pays it an involuntary
homage, when he explains rank as ' the jog-trot rate with which butter-women uni"
formly travel one after another in their road to market ' ; [This shows that Lettsom had
not looked up Whiter's note in the original, but had taken the final sentence, which
alone is given in the Var. of '21. — Ed.] <one after another' is added to save 'rank,'
as if rank m.t9jA file. Butter-women, going each from her solitary farm to the nearest
market-town, would travel most of their way alone, and the critics, I suspect, would
never have dreamt of drawing them up in rank or file, if they had not had a conjec-
ture to attack. [Dyce, after quoting this note, quietly adds { For my own part, I think
< rank ' the true reading.] Halliwell : The term ' rank ' is of constant occurrence
in the sense of range, line, file, order ; in fact, to [sic"] any things following each other.
Thus Browne, Britannia's Pctstorals, speaks of trees 'circling in a ranke.' The
more common meaning is row. ' Range all thy swannes, faire Thames, together on a
rancke.' — Drayton's Shepherd'' s Garland, 1593. * There be thirty egges laide in a
rancke, every one three foote from another.' — Hood's Elements of Arithmeticke, 1596.
* Short be the rank of pearls circling her tongue.' — Cotgrave's Wits Interpreter, 1671.
Staunton : Whiter's explanation is not satisfactory. From a passage m Dra]rton'8
poem. The Shepherd'' s Sirena, it might be inferred that < rank ' was a familiar term
for chorus or rhyme : < On thy bank. In a rank. Let thy swans sing her.' And * but-
ter-women's rank ' may have been only another term for verse which rhymed in coup-
lets, called of old * riding ryme.' Dyce ( Gloss.) quotes this note of Staunton, and
adds, * but by *' rank " Drayton assuredly means row.* Collier (ed. i) : ' Rank,' as
Whiter observes, means the order in which they go one after another, and therefore
Shakespeare says, * butter- women's,' and not butter-woman's, as it has been corrupted
of late years. Wright : That is, going one after another, at a jog-trot, like butter-
women going to market. This seems to be the meaning, if ' rank ' is the true read-
ing. It is open to the rather pedantic objection that it makes < rank ' equivalent to
file. But it may be used simply in the sense of order. I am inclined to consider
rack to be the proper word, and I would justify this conjecture by the following quo-
tations from Cotgrave's Fr. Diet. : 'Amble : f. An amble, pace, racke ; an ambling or
ACT III, sc. ii.] AS YOU LIKE IT 145
Rof. Out Foole. 98
Clo. For a tafte.
If a Hart doe lacke a Hindi J 100
Let him feeke out Rofalinde :
If the Cat will after kinde^
fo be fure will Rofalinde :
Wintred garments mufl be lindij
fo muflflender Rofalinde : 105
They that reap muflfheafe and binde^
then to cart with Rofalinde.
Sweetefl nut^ hathfowrefl rinde^
fuch a nut is Rofalinde.
He thatfweetefl rofe willfindey 1 10
mustfinde Loues prickey & Rofalinde.
This is the verie falfe gallop of Verfes, why doe you in-
fe£l your felfe with themf 1 13
loo-iiz. In sens, obsc In re. JHnde, qno Rosa, induta est, fortane tignificatnr.
cLAf.c/y. I, iii, 88. In re. /ifufe, hoc ^£d.
▼erbo congressus caninus significabatm', 100. doe] dafA Rowe+.
V. Cotgrave, s. v, Ligner; immo hodie Z04. Wintred] F^ Cald. Knt, C6IL {»
▼erbum sic usum est. In re. cart^ quaere "Wh. i, Hal. Winter F^F^ ct cet
symbolum incontinentia^ ? cf. < rascal bea- linde] lin'd F^.
die,' &c., Lear, IV, vi, 158, et Tam. SAr. 108. nut] meat r,F^ Rowe.
I, i, 55. In 11. 108, 109, vestimentum virile,
racking pace; a smooth or easie gate.' 'Ambler. To amble, pace; racke; to go
easily and smoothly away.' In Holme's Arrmmry (6. ii, c. 10, p. 150) < rack ' is thus
defined : ' Rack is a pace wherein the horse neither Trots or Ambles, but is between
both.' [Since no change free from objections has been proposed, it seems to me
safest to retain the original. — Ed.]
102. Cat . . . kinde] Halliwell gives half a dozen instances of the use of ' this
old proverbial phrase,' and more could be added.
104. Wintred] White : See the following instance of the use of this participial
adjective in a passage quoted from A Knack to Knew a Knave [circa, 1590] by
Collier in his History of Eng. Dram, Poetry [ii, 421, ed. 1879] : * Now shepherds
bear their flocks into the folds. And wint'red oxen, fodder'd in their stalls,' &c.
Wright : Compare < azured ' in 7^ Tempest, V, i, 43, and perhaps ' damask'd ' in
Sonnet cxxx, 5. [While fully agreeing with Grant White's opinion that 'wintred ' is
to be here preferred, I doubt the parallelism of his example. < Wintred garments ' are
exposed to the winter ; * wint'red oxen ' are protected from the winter. — ^Ed.]
112. false gallop] M alone: So in Nashe's [Foure Letters Confuted, p. 202, ed.
Grosart] : * I would trot a false g^lop through the rest of his ragged Verses, but that
if I should retort his rime dogrell aright, I must make my verses (as he doth his) nm
hobling like a Brewers Cart vpon the stones, and obserue no length in their feete.*
zo
146 AS YOU LIKE IT [act tii. sc. ii.
Rof. Peace you dull foole, I found them on a tree.
Clo. Truely the tree yeelds bad fruite. 1 1 5
Rof. He graffe it with you, and then I (hall graffe it
with a Medler : then it will be the earlieft fruit i'th coun- 1 17
\ 1
^^^ ' Hunter (i, 348) quotes as follows from Dictionnaire RaisonrU d^ Hippiatrique^ &c.
par M. Lafosse, 1776, i, 334 : * Galoper faux, se dit du cheval lorsqu' en galopant il
live la jambe gauche de devant la premiere, car il doit lever la droite la premiere/
[The phrase is thus understood, and still used, by horsemen at this day. — Ed.]
112. infect] This is strong language — strong for the occasion and strong for the
speaker. It is strange that this passage has escaped those who seem to think that
Shakespeare wrote his plays solely for a chance to make local allusions or to poke sly
fun or worse at his contemporaries. Indeed, a very pretty case could be made out for
them here, proving beyond a perad venture that Shakespeare is referring to Nashe's quar-
rel with Gabriel Harvey, and here indicates in terms too plain to be misunderstood that
he sympathised with Nashe. In this very paragraph in Nashe, quoted in the preced-
ing note by Malone, where the unusual phrase * false gallop * occurs (and mark, it is the
ONLY TIME that either Shakespeare or Nashe uses it !) Nashe does not conclude his
sentence without using the very identical, unusual, strong word that Touchstone uses
here. After saying, as we have just seen, that his verses would * observe no length in
their feet,* he goes on to say, * which were absurdum per absurdius^ TO infect my
vaine with his imitation.' Surely the case is clear that Shakespeare, by using * false
gallop' and Mnfect,' is alluding to Nashe. Can mortal man desire better proof?
Here in one and the same paragraph we have these two unusual words! As
Chief Justice Kenyon, whose classical quotations sometimes lacked the exactest
parallelism, is said to have been wont to say : < Gentlemen, the case is as clear as the
nose on your face ; latet anguis in herbA.'' — Ed.
1 16. graffe] Skeat (s. v.) : The form p'afi is corrupt, and due to a confusion
with graffed^ which was originally the past participle of * graff.' Shakespeare has
l^aftedy Macb. IV, iii, 51 ; but he has rightly also * graft ' as a past participle. Rich.
Ill: III, vii, 127. The verb is formed from the substantive graffe a scion. Old
French, graffe^ grafe, a style for writing with a sort of pencil ; whence French, greffe^
• a graff, a slip or young shoot.' — Cotgrave ; so named from the resemblance of the
cut slip to the shape of a pointed pencil. Similarly, we have Lat. graphiolum (i), a
small style ; (2), a small shoot, scion, graflf.
117. Medler] Beisly (p. 32) : The Mespilus germanica^ a tree, the fruit of which
is small, and in shape like an apple, but fiat at the top, and only fit to be eaten when
mellow or rotten. Ellacombe (p. 123) : The medlar is a European tree, but not a
native of England ; it has, however, been so long introduced as to be now completely
naturalised, and is admitted into the English flora. Chaucer gives it a very promi-
nent place in his description of a beautiful garden ; and certainly a fine medlar tree
< ful of blossomes ' is a handsome ornament on any lawn. Shakespeare only used the
common language of his time when he described the medlar as only fit to be eaten
when rotten. But, in fact, the medlar when fit to be eaten is no more rotten than a
ripe peach, pear, or strawberry, or any other fruit which we do not eat till it has
reached a certain stage of sofhiess. There is a vast difference between a ripe and a
rotten medlar, though it would puzzle many of us to say when a fruit (not a medlar
only) is ripe, that is, fit to be eaten. These things are matters of taste and fashion,
and it is rather surprising to find that we are accused, and by good judges, of eating
ACT ni, sc. iL] AS YOU LIKE IT 147
try : for you'l be rotten ere you bee halfe ripe, and that's 1 1 8
the right vertue of the Medler.
Clo. You haue faid : but whether wifely or no, let the 120
Forreft iudge.
Enter Celia with a writing,
i?^ Peace, here comes my fifter reading, (land afide.
Cel. Why Jhould this Defert bee ,
far it is vnpeopled'i Noe : 125
Tonges He hang on euerie tree^
ihatfltaU cndll fayings Jhae. 127
121. Forrefli^ Forester Warb. a desert Rowe ct cct.
122. Scene V. Pope + . 124, 125. bee,...vnpeopled?] be?...
124. Cel.] Cel. [reads] Dyce, Cam. unpeopled, ^ovrt. be ?.,. unpeopled tOv^.
Defert] F^F^, Knt, Hal. Defart 126. Tonges] Tongs F,F^.
Fy desert silent Tyrwhitt, Steev. Mai. 127. flboe] (how F^.
peaches when rotten rather than ripe. ' The Japanese always eat their peaches in an
unripe state .... they regard a ripe peach as rotten.*
117. be] Dyce (ed. iii): <Read bear; for "it" refers to the tree that is to be
graffed.' — W. N. Lkttsom.
117. earliest] Steevens: Shakespeare seems to have had little knowledge in
gardening. The medlar is one of the latest firuits, being uneatable till the end of
November. Douce (i, 302) : If a fruit be fit to be eaten when rotten, and before it
be ripe, it may in one sense be termed the earliest. Collier (ed. ii) : If the medlar
were graffed with the forwardness of the clown, instead of being one of the latest, it
would be < th' earliest fruit i' the country,' and rotten before it was half ripe.
124^153. Halliwell prints this in staves of eight, which, in a modernised edition,
is, I think, good. — ^£d.
124. Tyrwhitt: Although the metre may be assisted by reading *a desert,' the
sense still is defective ; for how will the ' hanging of tongues on every tree ' make it
less a desert ? I am persuaded we ought to read, < Why should this desert silent be ?'
Whiter : The old reading, I believe, is genuine. Surely the same metaphor has
power to people woods which is able to afford them speech. See what Dr Johnson
says in the following note on * civil sayings.' If the metre should be thought defect-
ive, < why ' may be read as a dissyllable. Let the reader repeat the line with a gentle
pause upon < why,' and he will find no reason to reject it for deficiency of metre.
Knight : The absence of people, says the sonneteer, does not make this place desert^
for I will hang tongues on every tree, that will speak the language of civil life. Desert
is here an adjective opposed to civil. Dyce (ed. i) : As if * Why should this desert
be ?' could possibly mean anything else than * Why should this desert exist P [Change
seems unavoidable, and Rowe's is less violent than any other. ,Qu. deserted f~~'T.i>.']
125. for] For instances of < for ' in the -sense of because^ see Abbott, $151.
127. civill] Johnson : Here used in die same sense as when we say rtW wisdom
or civil life, in opposition to a solitary state or to the state of nature. This desert
shall not appear unpeopled^ for every tree shall teach the maxims or incidents of social
life. Steevens : * Civil ' is not designedly opposed to solitary. It Mieans only grave
148 AS you LIKE IT [act hi, sc. iL
Satney how brief e the Life of man 128
rufis his erring pilgrimage y
That the Jlretching of a fpan^ 1 30
buckles in his fumme of age.
Some of violated voweSy
twixt the foules of friend^ and friend:
But vpon thefairefl boweSj
or at euerie fentence end ; 135
Will I Rofalinda write y
teaching all that reade^ to know
The quintejfence of euerie fprite^
heauen would in little fhow. 139
131. buckles] bucklefs F^. 138. The] This F^F^, Rowe + .
135. or] And Ktly.
or solemn, [For this meaning, which, I think, is the right one here, many examples
could be adduced. The only definitions, in fact, which Dyce gives of * civil ' are
* sober, grave, decent, solemn,' a range of meaning unaccountably overlooked by
Schmidt, who gives as the meaning of this passage, * decent, well-mannered, polite.'
Scarcely enough weight has been given, I think, by recent editors to this shade of
meaning ; not that * civil ' does not here also include the idea of civilisation or of
social life as opposed to ' desert ' ; but that it also involves the lover's melancholy is
shown in the sigh over the shortness of life, man's erring pilgrimage, and the violated
vows of friends. These, we are expressly told, were to be the * civil sayings * which
would be hung on every tree. — Ed.]
129. erring] Wright: Wandering; not used here in a moral sense. See Ham, I,
i, 154: 'The extravagant and erring spirit.' The word occurs in its literal sense,
though with a figurative reference, in Isaiah xxxv, 8 : < The wayfaring men, though
fools, shall not err therein.' For < wandering stars ' in the Authorised Version of Jude
13, the Wiclifite versions have < erringe steeres.' [For * his ' we should now use Us^
130. span] Wordsworth (p. 147) : As the Psalmist complains, < Thou hast made
my days as it were a span long.' — xxxix, 6, IVayer Book Version.
135. sentence end] Abbott, $ 217 : The possessive inflection in dissyllables end-
ing in a sibilant sound is often unexpresised both in writing and in pronunciation.
138. quintessence] * Quinta essentia est spiritualis et subtilis qusedam substantia,
extracta ex rebus, per separationem, k quatuor elementis, differens realiter ab ejus
essentia, ut aqua vita^ ipirihu vini* &c. — Minsheu, Guide Into Tongues, 1617.
Wright : The fifth essence, called also by the mediaeval philosophers 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, a thing aboue them or l)eside them
This spirit doubtlesse is in a manner such in the body of the world, as ours is in mans
body ; For as the powers of our soule, are through the spirit giuen to the members ;
so the vertue of the soule of y* world is by the quintecense spread ouer all, for noth-
ing is found in all the world which wanteth the sparke of his vertue.' — Batman vppon
Barthoiome, fol. 173, a.
139. in little] M alone : The allusion is to a miniature portrait. The current
ACT in, sc. ii.] AS YOU LIKE IT 149
Therefore heauen Nature cfiarg^dj 140
that one bodie Jhould be filVd
With aU Graces wide enlarg^dy
nature prefently diJlilPd
Helens cheeke^but not his hearty
Cleopatra's Maiejlie : 145
Attalanta's better part^
fad Lucrecia's Modefiie. 147
140. charged] changM Ff. 144. cheeke] cheelm FjF^, Rowe+.
142. all] €Ul the Rowe i. his] Ff. her Rowe.
wide enlarg'd] wide-enlarged heart] heare F^.
Dyce, Cam. I47. LucreMs'\ LucreHaes Fj. Lu-
enlarged,] enlarg'd; Rowe. cretid's F^.
phrase in our author's time was * painted in little.* Steevens : So in Ham. II, ii,
3S3 : ' give twenty, forty, fifty, a hundred ducats apiece for his picture in little.' [The
train of thought here is so decidedly astrological, beginning with * quintessence ' and
continuing through ' distillation ' to a * heavenly synod,' that it is possible that * in
little ' may here refer to the microcosm, the ' little world of man,' to which the Gen-
tleman refers in Lear^ III, i, 10. Where < in little ' elsewhere refers to miniatures, I
think Shakespeare generally couples with it the idea of a < picture ' or of < drawing.'
—Ed.]
140, &c. Johnson : From the picture of Apelles, or the accomplishments of Pan-
dora: llav6CiptjVf hri rc&vre^ 'OXhfiina d^fiar* ixovrec Hijpov iS6pij(rav. — [Hesiod,
Erga, 70]. So in the Temp. Ill, i, 48 : * but you, O you, So perfect and so peerless,
are created Of every creature's best !' Caldecott cites : ' Of all complexions the
cull'd sovereignty Do meet, as at a fair, in her fair cheek ; Where several worthies
make one dignity.' — Levels Lab. L. IV, iii, 234,
142. wide enlarg'd] * Spread through the world' is given by Schmidt as the
equivalent of this phrase, which I doubt. Does it not refer to the magnitude of the
graces with which Heaven had commanded Nature to fill one body ? — Ed.
146. Attalanta's better part] Johnson was the first to start a discussion which
has not, to this hour, subsided. He said : I know not well what could be the < better
part ' of Atalanta here ascribed to Rosalind. Of the Atalanta most celebrated, and
who therefore must be intended here where she has no epithet of discrimination, the
< better part ' seems to have been her heels, and the worse part was so bad that Rosa-
lind would not thank her lover for the comparison. There is a more obscure Ata-
lanta, a huntress and a heroine, but of her nothing bad is recorded, and therefore I
know not which was her < better part.' Shakespeare was no despicable mythologist,
yet he seems here to have mistaken some other character for that of Atalanta. ToL-
LET : Perhaps the poet means her beauty and graceful elegance of shape, which he
would prefer to her swiftness. But cannot Atalanta's * better part ' mean her virtue or
virgin chastity, with which Nature had graced Rosalind ? In Holland's Plinie^ bk.
XXXV, chap. 3, we find it stated that < at Lanuvium there remaine yet two pictures of
lady Atalanta^ and queen Helena, close one to the other, painted naked, by one and
the same hand : both of them are for beauty incomparable, and yet a man may dis-
ceme the one of them [Atalanta] to be a maiden, for her modest and chaste coonte-
1 50 AS vol/ LIKE IT [act hi, sc. ii,
[Attalanta's better part]
nance.' Farmer : I suppose Atalanta*8 < better part ' is her wit^ i. e. the swifhiess of
her mind. Malone : Dr Farmer's explanation may derive some support from a sub-
sequent passage [lines 269, 2^o^ posf\. It is observable that the story of Atalanta in
Ovid's Metamorphoses is interwoven with that of Venus and Adonis, which Shake-
speare had undoubtedly read. Thus, Golding's translation [bk. z, p. 132, ed. 1567] :
*And hard it is to tell Thee whither she did in footemanshippe or beawty more excell/
*And though that shee Did fly as swift as arrow from a Turkye bowe : yit hee More
woondred at her beawtye than at swiftnesse of her pace Her romiing greatly did
augment her beawtye and her grace.' [In his ed. 1790, Malone suggested that Ata-
lanta's lips were her better part, because in Marston's Insatiate Countess he found the
reference, * Those lips were hers that won the golden ball ' ; evidently forgetting, as
Wright says, that the allusion there was to Venus. This suggestion was withdrawn.—
Ed.] Steevens : It may be observed that Statins also, in his sixth Hubaid^ has con-
founded Atalanta, the wife of Hippomanes, with Atalanta, the wife of Pelops. After
all, I believe that 'Atalanta's better part ' means only the best part about her^ such as
was most commended. [Which is not altogether unlike Lincoln's well-known saying,
that < for those who like this kind of thing, this kind of thing is what they would
like ' ; what was < the best part about ' Atalanta is exactly what we are trying to find
out. — Ed.] Whalley : I think this stanza was formed on an old tetrastich epitaph
which I have read in a country churchyard : < She who is dead and sleepeth in this
tomb. Had Rachel's comely face, aad Leah's fruitful womb: Sarah's obedience,
Lydia's open heart, And Martha's care, and Mary's better part,* Whiter, to whom
this passage offers a notable instance of the truth of his theory as to the association of
ideas, devotes nearly nineteen octavo pages to its elucidation, whereof the following is
a digest : It has been remarked that Shakespeare has himself borrowed many of his
images from prints, statues, paintings, and exhibitions in tapestry ; and we may observe
that some allusions of this sort are to be found in the play before us, and especially in
those places which describe the beauty of Rosalind I have always been firmly
persuaded that the imagery which our Poet has selected to discriminate the more
prominent perfections of Helen, Cleopatra, Atalanta, and Lucretia was not derived
from the abstract consideration of their general qualities ; but was caught Sxom. those
peculiar traits of beauty and character which are impressed on the mind of him who
contemplates their portraits. It is well known that these celebrated heroines of
romance were, in the days of our Poet, the favourite subjects of popular representa-
tion, and were alike visible in the coarse hangings of the poor and the magnificent
arras of the rich. In the portraits of Helen, whether they were produced by the skil-
fill artist or his ruder imitator, though her face would certainly be delineated as emi-
nently beaudfVil, yet she appears not to have been adorned with any of those charms
which are allied to modesty ; and we accordingly find that she was generally depicted
with a loose and insidious countenance, which but too manifestly betrayed the inward
wantonness and perfidy of her heart [Shelton's Don Quixote, Part ii, p. 480, is here
cited in proof.] With respect to the < majesty of Cleopatra ' it may be observed that
this notion is not derived from classical authority, but Sxom. the more popular storehouse
of legend and romance I infer, therefore, that the familiarity of this image was
impressed both on the Poet and his reader from pictures and representations in tapes-
try, which were the lively and faithful mirrors of pq)ular romances. Atalanta, we
know, was considered likewise by our ancient poets as a celebrated beauty ; and we
may be assured therefore that her portraits were everywhere to be found. .... Since
ACT ni, sc. iL] AS YOU LIKE IT 151
[Attalanta's better part]
the story of Atalanta represents that heroine as possessed of singular beauty, zealous
to preserve her maidenliness even with the death of her lovers, and accomplishing
her purposes by extraordinary swiftness in running, we may be assured that the skill
of the artist would be employed in displaying the most perfect expressions of rnrgin
purity ^ and in delineating the fine proportions and elegant symmetry of her person,
.... Let us suppose, therefore, that the portraits of these celebrated beauties, Helen,
Cleopatra, Atalanta, and Lucretia, were delineated as I have above described, that in
the days of Shakespeare they continued to be the favorite subjects of popular repre-
sentation, and that consequently they were familiarly impressed on the mind of the
Poet and on the memory of his audience. Let us now investigate what the bard, or
the lover, under the influence of this impression, would select as the better parts of
these celebrated heroines, which he might wish to be transferred to his own mistress
as the perfect model of female excellence. In contemplating the portrait of Helen
he is attracted only by those charms which are at once the most distinguished, and at
the same time are the least employed in expressing the feelings of the heart He
wishes therefore for that rich bloom of beauty which glowed upon her cheeky but he
rejects those lineaments of her countenance which betrayed the loose inconstancy of
her mind — the insidious smile and the wanton brilliancy of her eye. Impressed with
the effect, he passes instantly to the cause. He is enamoured with the better part of
the beauty of Helen ; but he is shocked at the depravity of that hearty which was too
manifestly exhibited by the worse. To convince the intelligent reader that < cheek * it
iK>t applied to beauty in general^ but that it is here used in its appropriate and orig*
inal sense, we shall produce a very curious passage from one of our author's Sonnets^
by which it will appear that the portraits of Helen were distinguished by the con-
summate beauty which was displayed upon her cheek : * Describe Adonis, and tht
counterfeit (f. e. picture) Is poorly imitated after yoiL On Helen's cheeh all art of
beauty set. And you in Grecian tires are painted new.' — Sonnet 53 In survey
ing the portrait of Atalanta^ and in reflecting on the character which it displayed, the
lover would not find it difiicult to select the better part both of her mind and of hei
form, which he might wish to be transfused into the composition of his mistress. He
would not be desirous of that perfection in her person which contributed nothing to
the gratification of his passion, and he would reject that principle of her soul which
was adverse to the object of his wishes. He would be enamoured with the fine pro
portions and elegant symmetry of her limbs ; though his passion would find but little
reason to be delighted with the quality of swiftness with which that symmetry was
connected. He would be captivated with the blushing charms of unsullied virginity ;
but he would abhor that unfeeling coldness which resisted the impulse of love, and
that uimatural cruelty which rejoiced in the murder of her lovers. The Poet lastly
wishes for the modesty of the sad Lucretia^ that firm and deep-rooted principle of
female chastity which is so visibly depicted in the sadness of her countenance, and
which has rendered her through all ages the pride and pattern of conjugal fidelity.
Such then are the wishes of the lover in the formation of his mistress, that the ripe
and brilliant beauties of Helen should be united to the elegant symmetry and virgin
graces of Atalanta^ and that this union of charms should be still dignified and eimo-
bled by the majestic mien of Cleopatra and the matron modesty of Lucrttia. [Whiter
concludes by pointing out the allusion to a picture, involved in * little,' line 139, and
the term of painting, in * touches ' in line 15 1.] Caldecott : From the use of it in
Quarles's Argalus and Parthenia, it has been suggested that this might have been a
152 AS YOU LIKE IT [act hi. sc. ii.
[Attalanta's better part]
well-understood phrase for works of high excellence : < No, no, Hwas neither brow,
nor lip, nor eye, Nor any outward excellence urg'd me, why To love Parthenia.
'Twas her better part (Which mischief could not wrong) surpriz'd my heart' Hal-
LIWELL : The expression ' better part ' is a very common one in works of th(<'sixr
teenth and seventeenth centuries, used in the sense of the soul or mind, or sometimes
for the head, the seat of the intellect or soul. Its exact meaning in the present line
is somewhat obscure, but it probably refers to the chaste mind of the beautiful Ata-
lanta. Knight quotes certain paragraphs from Whiter which are included in those
given above. Coluer has no note on the passage. Singer says nothing new.
Staunton (in a note on Macb, V, viii, r8 : < it hath cow'd my better part of man ') :
Atalanta's better part was not her modesty ^ nor her heels ^ nor her wit^ but simply her
spiritual part. The old epitaph quoted by Whalley almost proves, although he was
apparently unconscious of the meaning, that * better part ' signified the immortal^ the
intelligent part But the following lines from Overbury's Wife places this beyond
doubt : * Or rather let me Love^ then be in lave; So let me chuse, as Wife and Friend
to finde. Let me forget her Sex^ when I approve ; Beasts likenesse lies in shape^ but
ours in minde ; Our Soules no Sexes have, their Love is deane, No Sex, both in the
better part are men* The Italics are the author's. [Sig. D 2, ed. 1627.] Dyce says
the expression is * common enough,' but offers nothing new in way of explanation.
The Cowden-Clarkes think that Atalanta's beauty, reticence, and agility form her
* better part.' Hudson : The * better part ' would refer to Atalanta's exquisite sym-
metry and proportion of form ; and Orlando must of course imagine all formal, as
well as all mental and moral graces, in his * heavenly Rosalind.' Wright : Winter's
opinion that Shakespeare may have had in mind pictures or tapestry may well have
been the case, and it is known that cameos representing classical subjects were much
in request. [In a letter to me in 1877 the late A. E. Brae says : * My own interpre-
tation, unpublished except now to you, is that the allusion is Meleager's Atalanta of
epicene loveliness, half boy, half girl, with whom Meleager fell in love at first sight,
just as Orlando did with Rosalind. The "better part" may be either Atalanta's
feminine beauty as contrasted with her boyish beauty, or it may be her loveliness as
contrasted with her equipment in huntress fashion. After the description of which, in
Ovid's Afeta. lib. viii, comes: *< Talis erat cultus; facies quam dicere vere Virgineam
in puero, puerilem in virgine posses." Now, had not Rosalind, even before she donned
male attire, this double character of beauty ? .... It may be objected that Orlando
did not know when he was versifying that Rosalind was in boy's dress, but Shake-
speare knew it, and the audience knew it, and it is but a very slight discrepancy or
oversight compared with the suggestion of ** agility " which is nowhere even hinted
at as attributable to Rosalind Should you think the interpretation here suggested
as too abstruse, I should substitute this : that Atalanta's subsequent eager susceptibil-
ity to love fix)m Hippomanes and Meleager might well be called her better part, as
opposed to her former insensibility and cruelty in outpacing and then slaughtering her
lovers.' To me both of these interpretations are somewhat too refined ; the former
Brae himself adequately condemns by referring to the anticipation involved in it.
Atalanta wished to remain unwedded not from any love of maidenhood, but simply
because the oracle had told her that marriage would prove fatal to her, as it did. It
was her physical beauty which attracted her lovers and made them prefer death, to
life without her. Staunton's explanation is hardly specific enough ; her < immortal
part ' she shared in common with the other three types. Her < better part ' was, I
ACT III. sc. ii.] AS YOU LIKE IT 153
Thus Rofalinde of manie parts ^ 148
by Heauenly Synode was deui^dy
Of manie faces y eyeSy and hearts^ 1 50
to haue the touches deerefi priid.
Heauen would thatfhee thefe gifts fhould hauCy
and I to Hue and die herjlaue.
Rof. O moft gentle lupiter, what tedious homilie of 154
154. lupiter,'] Jupiter, FjF^. Juniper! Warb. pulpiter! Spedding, Cam. Glo. Cla.
think, her physical, personal charms. Nature's distillation resulted in Helen's face,
Qeopatra's bearing, Atalanta's form, and Lucretia's modesty. — Ed.]
147. Lucrecia's] The spelling in F^, * Lucretiaes,' if it be phonetic, which is not
unlikely, exactly reproduces the New England pronunciation of to-day among
thoroughbred Yankees. I have heard from college professors Cubae^ stigmae, &c. for
Cuba, stigma. See also what White says about < lectors,' line 336, post. — Ed.
150. Wright: Shakespeare may have remembered the story of Zeuxis as told by
Pliny (xxxv, 9, trans. Holland), * that when bee 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.'
151. touches] Johnson: The features; les traits. [See V, iv, 31.]
152. 153. should . . . and I to Hue] Wright: 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 * in line 152, as if it were either * And I
would live,' or * am willing to live,' &c. Abbott refers to this passage in $ 416, as
an instance of where < construction is changed for clearness.' < Here ** to " might be
omitted, or " should " might be inserted instead, but the omission would create ambi-
guity, and the insertion would be a tedious repetition.' See also a parallel construction
in V, iv, 25, 26. For other instances where < I ' is used before an infinitive, see
Abbott, §216.
154. lupiter] Spedding's emendation, pulpiter, adopted by the Cambridge Edi-
tors and by Dyce in his Second Edition, but abandoned in his Third, is plausible and
alluring. It is the word of all words to introduce the train of thought that follows,
with which < Jupiter ' has no connection. This addition of an -^r to a noun in order
to change it to an agent, like < moraler ' in Othello, * justicer ' in Lear, &c., is, as we
all know, thoroughly Shakespearian. Moreover * lupiter ' is not printed in Italics as
though it were a proper name, to which Wright calls attention, and as it is printed in
the only other place where it is used in this play, II, iv, 3 ; which adds to the likeli-
hood that it is here a misprint All these considerations are clamorous for Sped-
ding's pulpiter. But, on the other hand the text is clear without it; once before
Rosalind has appealed to < Jupiter,' and to use this mouth-filling oath, which is ' not
dangerous,' may have been one of her characteristics, as certainly the use of expletives
in general is. Although * Jupiter ' is not elsewhere printed in Roman, yet < Jove ' is,
and in this very scene, line 231 ; and so also is * Judas ' in III, iv, 10. Pulpiter can
154 AS YOU LIKE IT [act hi. sc. iL
Loue haue you wearied your parifhioners withall, and 155
neuer cri'de, haue patience good people.
CeL How now backe friends : Shepheard,go off a lit-
tle : go with him firrah.
Clo. Come Shepheard, let vs make an honorable re-
treit, though not with bagge and baggage, yet with 160
fcrip and fcrippage. Exit.
CeL Didft thou heare thefe verfes?
Rof. O yes, I heard them all, and more too, for fome
of them had in them more feete then the Verfes would
beare. 165
CeL That's no matter : the feet might beare y verfes.
Rof. I, but the feet were lame, and could not beare
themfelues without the verfe,and therefore ftood lame-
ly in the verfe.
CeL But didft thou heare without wondering, how 170
thy name (hould be hang'd and carued vpon thefe trees ?
Rof. I was feuen of the nine dales out of the wonder, 172
156. cri^de] cride^ have your parijh- Cap. Stcev. Mai. back ^ friends. Coll.
tones withall^ and never cri^de^ F,. Back, friends ! Wh. Cam.
157. How now\ How now! Ff. How 162. Scene VI. Pope + .
now f Coll. 172. the wonder"] wonder Ff, Rowe + ,
dache friends:"] dach -friends / Cap.
Theob. Han. Warb. Johns, dach friends F
hardly be called an emendation ; there is no* obscurity which amounts to a defect.
It is an improvement, and against verbal improvements, which it is far from impossible
to make in Shakespeare's text, we should, I think, acquire and maintain a dogged
habit of shutting our eyes and closing our ears. See IV, iii, 19. — Ed.
168. without] ' That is, outside of the verse.
171. should] Abbott, $328: There is no other reason for the use of * should'
in this line than that it denotes a statement not made by the speaker (compare sol/en
in German). Should seems to denote a false story in George Yox^s Journal i * From
this man's words was a slander raised upon us that the Quakers should deny Christ,'
p. 43 (edition 1765). * 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."' 'Why should you think that I
should woo in scorn.' — Mid. N. D. Ill, ii, 122. Wright : * Should ' is frequently
used in giving a reported speech. Thus in Jonson, The Fox, II, i : *Sir Politick. 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. Peregrine. What was 't, sir ? Sir. P. Marry,
sir, of a raven that should build In a ship royal of the king's' [p. 202, ed. Gifford].
172. seuen . . . nine] Capell (p. 61) : It is still a common saying amongst us,
that a wonder lasts nine days ; seven of which, says Rosalind, are over with me, for
I have been wondering a long time at some verses that J have found.
■s^
ACT HI. sc. ii,] AS YOU LIKE IT XS5
before you came: for looke heere what I found on a 173
Palme tree; I was neuer fo berim d fince Pythagoras time
that I was an Irifh Rat, which I can hardly remember. 175
174. Pythagoras] Pythagora^s Rowe + . Pythagoras* Cap.
174. Palme tree] Stekvens: A < palm-tree ' in the forest of Arden is as much
out of place as the lioness in a subsequent scene. Caldecott : Bulleyn in his Booke
of Compounds t 1562, p. 40 [speaks of] < the kaies or woolly knottes, growing upon
sallowes, commonly called palmes,^ Brand {^Pop. Ant, i, 127, ed. Bohn) : It is still
customary with our boys, both in the south and north of England, to go out and gather
slips with the willow-flowers or buds at this time [1. e. Palm Sunday]. These seem to
have been selected as substitutes for the real palm, because they are generally the
only things, at this season, which can be easily procured in which the power of vege-
tation can be discovered. It is even yet a common practice in the neighborhood of
London. The young people go a-palming; and the sallow is sold in London streets
for the whole week preceding Palm Sunday, the purchasers commonly not knowing
the tree which produces it, but imagining it to be the real palm, and wondering that
they never saw it growing I Halliwell {Archaic Diet. s. v. Palm) : Properly exotic
trees of the tribe Palmacea; but among our rustics it means the catkins of a delicate
species of willow gathered by them on Palm Sunday. * Palme, the yelowe that grow-
eth on wyllowes, chatton* — Palsgrave, 1 550. Wright : As the forest of Arden is taken
from Lodge's Novel, it is likely that the trees in it came from the same source. This
is certainly the case with the ' tuft of olives * in III, v, 78. 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.' — ^Lodge's Novel. Coluer (ed. i) : Shakespeare cared little about
such < proprieties ' ; but possibly he wrote plam-tree, which may have been misread
by the transcriber or compositor. [Collier did not repeat this suggestion in his subse-
quent editions. It seems quite clear frY>m both Bulleyn and Palsgrave that the catkins
of the willow were called palms, and presumably for the reason that they were used,
as Brand states, on Palm Sunday. But I can find no proof that the willow was ever
called a * palm tree.' Here, in this city, on that day, in lieu of the Oriental branches,
sprigs of box and the long leaves of the Phormium tenax are distributed in the
churches, and are called < palms,' but no one ever thinks of calling the plants them-
selves ' palm trees.' Shakespeare's forest was Lodge's forest, and, as Wright tmlj
says, that forest could exist only in fancy.— Ed.]
174, 175. berim d . . . Rat] Grey (i, 181): A banter upon Pythagoras's doc-
trine of the transmigration of souls. See Spenser's Faerie Queene, I, ix [* As he were
charmed with inchaunted rimes.'— line 437, ed. Grosart]. In Randolph's Jealous
Levers, v, ii, there is an image much like this : *Azoius, And my poets Shall with a
satire steep' d in gall and vinegar Rithme 'em to death, as they do rats in Ireland.'
Johnson : The power of killing rats with rhymes Donne mentions in his Satires and
Temple in his Treatises, [The passage in Donne's Satires to which reference is here
made must be, I think, in Pope's version, pointed out by Wright, ScUire II, line 22 :
* One sings the fair ; but songs no longer move ; No rat is rhymed to death, nor maid
to love.' I cannot find it in the original. The passage in Temple is probably that
156 AS VOLT LIKE IT [act hi, sc. ii.
CeL Tro you, who hath done this ? 176
Rof, Is it a man ?
CeL And a chaine that you once wore about his neck:
change you colour ?
Rof. I pre' thee who? 180
CeL O Lord, Lord, it is a hard matter for friends to
176. Tr6\ Trow Theob. ii. 1 78. wore\ wore, Ff, Rowe et seq.
178, And'\ Ay, and Cap. 179. you] your F^F^.
which is quoted by M. M. (iV. ^ Qu, Ist Ser. vol. vi, p. 460) from the Essay on
Poetry : * and the proverb of ** rh3rming rats to death " came, I suppose, from the
same root * \i. e. the Runic]. In the same volume of N. &* Qu. p. 591, G. H. Kings-
ley supplied another allusion from Scot's Discouerie of Witchcraft : * The Irishmen
.... terme one sort of their witches eybiters .... yea and they will not sticke to
afiirme, that they can rime either man or beast to death.' — Book III, chap, xv, p. 64,
ed. 1584. — Ed.] Steevens: So in an address <To the Reader' at the conclusion
of Jonson's Poetaster: < Rhime them to death, as they do Irish rats In drumming
tunes.' M ALONE : So in Sir Philip Sidney's Defence of Poesie : * I will not wish vnto
you the Asses eares of Midcu .... nor to be rimed to death, as is said to be done in
IreiSd* — [p. 518, ad fin. ed. 1598]. Halliwell gives several references of a later
date, and adds that * the power of the Irish satirist to rhyme men to death is frequently
referred to, and is the subject of various ancient legends. According to Mr Currie,
" the most ancient story of rhyming rats to death in Ireland is found in an historico-
romantic tale, entitled, Tke Adventures of the Great Company ^^ ' Hereupon, Halli-
well quotes the < adventures,' whereof space and relevancy will scarcely permit the
reprint here. <An anonymous critic adds,' says Halliwell in conclusion, 'that in
France, at the present day, similar reliance on the power of rhyme is placed by
the peasantry. Most provinces contain some man whose sole occupation is to lure
insects and reptiles by song to certain spots where they meet with destruction.
The superstition belongs to the same order as that of the serpent-charmers of the
East.'
174. Pythagoras] Walker (Crit, i, 152) cites this allusion to Pythagoras, among
many others, to show the influence of Ovid on Shakespeare. The doctrines of that
philosopher are set forth at large in Met, zv.
175. that] Abbott, $ 284: Since thai represents different cases of the relative, it
may mean * in thcU^ ' for that^ * because ' (* quod *), or * at which time ' (* quum ').
175. which] For other instances where 'which' is used for < which thing,' often
parenthetically, see Abbott, $ 271.
178. And a chaine] Wright: This irregular and elliptical construction, in which
< and ' does yeoman's service for many words, may be illustrated by the following
from Cor. I, i, 82 : < Suffer us to famish, and their storehouses cnunmed with grain.'
And in Cym. V, iv, 179 : ' But a man that were to sleep your sleep, and a hangman
to help him to bed, I think he would change places with his officer.'
181, 182. friends . . . meete] Steevens : Alluding to the proverb: ' Friends may
meet, but mountains never greet.' See Ray's Collection, Malone : So in Mother
BombiCy by Lily, 1594 : ' Then wee foure met, which argued wee were no mountaines.'
-[V, iU].
ACT III. sc. U.] ^5 YOU LIKE IT 157
meete ; but Mountaines may bee remoouM with Earth- 182
quakes, and fo encounter.
Rof. Nay, but who is it ?
CeL Is it poffible? 185
Rof. Nay, I pre'thee now, with moft petitionary ve-
hemence, tell me who it is.
CeL O wonderfull, wonderfuU, and moft wonderfull
wonderfuU, and yet againe wonderful, and after that out
of all hooping. 190
Rof. Good my completion, doft thou think though
186. prithee] pray thee Cap. Steev. whooping Thcob. ct seq.
Var.'2i, Cald. Knt, Sta. 191. Goodmy\ C7<iV'j,myTheob.Haii
187. teWl till F,. Od's my Cap.
190. Jiooping\ hoping T^ Rowe. comptetfiion'] companion Gould.
182. with] For other instancfia of the use of * with ' in the sense of by means of,
see Abbott, § 193.
183. encounter] Grey (i, 181) : A plain allusion to the following incident men-
tioned by Pliny, Hist. Nat, ii, 83 [or as it stands in Holland's translation, cited by
Toilet, but no credit given to Grey] : < There hapned once .... a great strange won-
der of the earth ; for two hils encountered together, charging as it were, and with
violence assaulting one another, yea, and ret3Ting againe with a most mighty noise.'
Wright : There is of course no necessity for supposing that Shakespeare had such a
passage in his mind.
190. hooping] Steevens : That is, out of all measure or reckoning. Malone :
This appears to have been a phrase of the same import as another formerly in use,
' out of all cry* Caldecott : Literally beyond, or out of all call or stretch of the
voice ; metaphorically, and as we are to understand it, not to be expressed by any
figure of admiration. Dyce : Akin to this are the phrases Out of all cry and Out of
all ho, [Of the former of these kindred phrases examples are given by Steevens, Col-
lier, Wright, and many by Halliwell, but of the phrase itself, * hooping,' there does not
appear to be another instance, nor is any needed : its meaning is clear enough. — Ed.]
Wright: The form whoop [see Text. Notes] was in early use. Cotgrave gives:
< Hucher. To whoope, or hallow for ; to call vnto.' And earlier still, in Palsgrave, 1 530,
we find, * I whoope, I call. Je huppe Whooppe a lowde, .... huppe hault*
191. complection] Theobald in his first edition confessed himself unable to ' rec-
oncile this expression to common sense,' and hence his emendation, which Hanmer
adopted. The emendation is ingenious, because afterwards Rosalind says, * Odd's,
my little life,' and again, * Odd's, my will.' He withdrew it, however, in his second
edition, presumably convinced in the interim by his ' most affectionate friend ' War-
burton, who wrote to him (Nichols, Ulust. ii, 646) : < You say you cannot reconcile
this to common sense. Can you reconcile odds my complexion to it ? The truth is,
« good my complexion " is a fine proverbial expression, and used by way of apology
when one is saying anything for which one ought to blush, and signifies, hold good,
my complexion, t. e, may I not be out of countenance !' Very different this, in tone,
from the sneer which Warboiton printed in his own edition seven years later. Ma-
lone : That is, my native character, my female inquisitive disposition, canst thou
i6o AS YOU LIKE IT [act hi. sc ii.
CeL So you may put a man in your belly. 200
Rof. Is he of Gods making ? What manner of man ?
Is his head worth a hat? Or his chin worth a beard ?
CeL Nay, he hath but a little beard.
Rof. Why God will fend more, if the man will bee
thankful : let me ftay the growth of his beard, if thou 205
delay me not the knowledge of his chin.
CeL It is yong Orlando^ that tript vp the Wraftlers
heeles,and your heart, both in an inftant
Rof. Nay, but the diuell take mocking : fpeake fadde
brow, and true maid. 210
Cel. rfaith(Coz) tis he.
Rof. Orlando ?
CeL Orlando,
Rof. Alas the day, what (hall I do with my doublet &
hofe? What did he when thou faVft him? What fayde 215
210. maid'\ mind Anon (a/. Cam. Ed.).
201. Qods making] Wright: Or his tailor's? G)mpare Lear^ II, ii, 59:
' nature disclaims in thee : a tailor made thee.' Stephens in his Essayes and Cka-
ratters (2d ed. 1615) 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). [Compare too what Viola answers ( Thvelfih N. I, ▼, 254) when Olivia
unveils her face and asks, ' is't not well done ?' < Excellently done,' replies Viola,
« if God did all.'— Ed.]
205. stay] For many other instances where ' stay ' is equivalent to waii for, see
Schmidt, s. v. 2, g.
209, 210. sadde . . . maid] Ritson : That is, speak with a grave countenance,
and as truly as thou art a virgin ; speak seriously and honestly. [In connection with
the similar phrase ' I answer you right painted cloth,' line 267, Steevens cites the
parallel construction : ' He speaks plain cannon Bre, and smoke and bounce *^^King
John^ II, i, 462. And Malone cites, * I speak to thee plain soldier ' — Hen. V: V, ii,
156; 'He speaks nothing but madman' — Twelfth N, I, v, 115. For 'sad' in the
sense of grave^ Schmidt will supply many an instance.]
213. Orlando] Lady Martin (p. 418) : Celia answers, and this time gravely,
for Rosalind's emotion shows her this is no jesting matter. Oh happiness beyond
belief, oh rapture inexpressible ! The tears at this point always welled up to my
eyes and my whole body trembled. If hitherto Rosalind bad any doubt as to the
state of her own heart, from this moment she can have none. Finding how she is
overcome at the bare idea of his being near, the thought flashes on her : ' Alas, the
day ! what shall I do with my doublet and hose ?' but Celia has seen him, he per-
haps has seen Celia, and that perplexing thought is put aside in the eagerness to learn
full particulars about her lover.
ACT III. sc. ii.] AS YOU LIKE IT i6i
he? HowlookMhe/ Wherein went he? What makes hee 2i6
heere? Did he aske for me ? Where remaines he ? How
parted he with thee f And when (halt thou fee him a-
gaine? Anfwer me in one word.
Cel. You muft borrow me Gargantuas mouth firft: 220
'tis a Word too great for any mouth of this Ages fize,to
fay I and no, to thefe particulars, is more then to anfwer
in a Catechifme. 223
216. makes hee\ makes him Han. +, Steev. Mai. Coll. Sing. KUy.
218. he'\ me F,. 221. fae^ to] size: To Ci^ siu, T0
220. Gargantuas] GaragarUua^s Pope Coll.
216. Wherein went he ?] Heath (p. 149) : That is, in what manner was he
cloathed ? How did he go dressed ? Rev. John Huntee : This has been supposed
to mean in what dress; but surely it is used for whereinto. [This latter inteipretation
would be conclusive were it not that to go bears the meaning, so veiy fiequently, of tc
dress. Schmidt gives fourteen or fifteen examples, and the list is far fxx>m complete.
Furthermore, is not Hunter's inteipretation virtually contained in * Where remains
he ?'— Ed.]
218. with] Abbott, $ 194 : Though we still say ' I parted with a house ' or ' with
a servant (considered as a chattel),* we could not say * When you parted with the
king.*— ^iVA. //.• II, ii, 2.
220. Gargantuas] Geey (i, 181) : Alluding to Garagantua's swallowing five pil-
grims, with their pilgrims* staves, in a salad. [Rabelais, Bk. I, chap, xxxviii.] John-
son : Rosalind requires nine questions to be answered in one word, Celia tells her
that a word of such magnitude is too big for any mouth but that of Garagantua, the
giant of Rabelais. Steevens : It appears from the Stationers' Registers that in 1592
[April 6— Wright ; vol. ii, p. 607, ed. Arber] was published ' Gargantua his prophesie.*
And in 1594 [Dec. 4 — Wright ; vol. ii, p. 667, ed. Arber] *A booke entituled, the his-
torie of Gargantua,* &c. The book of Gargantua is likewise mentioned by Laneham
in his letter from Kenilworth, 1575. Halliwell: Although there had been no
English translation of Rabelais in Shakespeare's time, yet it is evident from several
notices that a chap-book history of Gargantua was very popular in this country in the
sixteenth century. [Hereupon Halliwell gives several of these notices and other
references. See Text. Notes for the misspelling started among the Editors by Pope.
— Ed.] Wright : Cotgrave gives : < Gargantua. Great throat Rab.'
222. I and no] On that puzzling passage in Lear, IV, vi, 99, where Lear says
««*Ay'* and "no** too was no good divinity,* Cowden-Clarke remarks: *In
proof that " ay *' and " no ** was used by Shakespeare with some degree of latitude
as a phrase signifying alternate reply, and not merely in strictness " yes ** and « no,*'
compare [this present passage], where if the questions Rosalind asks be examined, it
will be perceived that neither " ay ** nor " no '* will do as answers to any of them,
except to " Did he ask for me ?** ' [Celia's words, as Cowden-Clarke intimates, are
not to be taken literally. I think she means that if she were to give even the very
shoxtest of answers to all of Rosalind*s questions, it would be a longer task than to go
through the Catechism. — Ed.]
223. in a] Heath (p. 149): We should read *to answer a catechism.' <To
zz
i6a 4S YOU LIKE IT [act in. sc. ii.
Rof. But doth he know that I am in this Forreft, and
in mans apparr^U ? Looks he as frcfhly^ ^ he did the day 225
he Wraftled ?
Cel. It is as eafie to count Atomies as to refoliie the
propofitions of a Louer : but take a tafte of my finding
him, and rellifh it with good obferuance. I fpund him
vnder a tree like a dropM Acome. 230
Rof. It may wel be calM loues tree, when it droppea
forth fruite.
CeL Giue me audience, good Madam.
Rof. Proceed.
Cel. There lay hee ftretch'd along like a Wounded 235
knight.
Rof. Though it be pittie to fee fuch a fight, it well
becomes the ground* 238
aa6. WraftUd'\ WraJttdY^, Knt
227. Atomies] Atonus F^F^. Atoms 230. a tree] an oak-tree Han.
iU>we+, 2^2, forth] suck Cap. KUy, Hnds.
229. good] a good St^Yywr,* 21, Cald. /ortk suck Ff, Rowe et cet
answer in a catechism ' implies no more than to answer a single question in it. The
sense rec^uires that the answer should be to every part of it.
^27. Atomies] Malone : * An atomic/ says Bullokar, in his ExposOor^ 1616, * ii
a mote flying in the sunne. Any thing so small that it cannot be made lesse.' [Prob-
ably this was pronounced atomeis. In Sylvester's Du Bartas^ BeikuHas Rescue^ 1632,
lib. vi, 346 : < Alas I I erre : for all in Atomies Wert thou divided, all would not suf-
fice.' Again, Ibid,^ Battaii of Yury^ 421 : * Our State (yerst honour'd where the Sun
doth rise) Would fly in sparks or die in atomies.' Also in R. L.*s DieUa^ Sonn. zxx.,
quoted by Caldecott (not, however, in reference to the pronunciation of atomic), we
read : * Hee that <:an count the candles of the skiie Or number nomborlesse small
attomie.* — Ed.]
231. loues] Because the oak was sacred to Jove^ and because Orlando was^om-
oared to an acorn, Warburton reads ' under am oak tree ' in the preceding line. <A
laughing allusion,' says Neil, < to Minerva's springing full-grown from, Jupiter's head,
seeing that the oak's acorn Celia spoke of was a iiill-grown lover.'
232. forth fruite] See Text Notes for the omission su{^ed by the Second Folio.
Capell asserted that no such phrase as ' drops fortk ' is ' acknowledg'd by English-
men ' ; but Malone dtes it in this very play, IV, iii, 37.
238. becomes the ground] Capell: The metaphor is taken from colour'd
needlework, whose figures are more or less beautiful, according to the ground they
are lajr'd on. Halliwell : But the more obvious meaning may be what is intended.
Steevens : So in Ham. V, ii, 413 : * Such a sight as this Becomes the field.' Wright :
But < field ' in this case means * battle-field.' Staunton : That is, it well adorns, or
graces, or sets off the ground. To < become,' in the present day, signifies usually to
befit, to be suitable; formerly it meant more than this. Thus, in Com. of Err, III, il
ACT ni, 9C. ±1 AS Y€U LIKE IT 1^3
CeL Cry holla, to the tongue, I prethee : it curnettes
vn&afonably. He was furnifh'd like a Hunter* 24a
Ro/. O ominous, he comes to kill my hart
CeL I would fing my fong without a burthen, thou
bring^ft me out of tune. 243
239. Aolla'] holla F^, Rowe. - 241. harfl Ff, Pope, Cap. Cald. Knt.
tk€\ Ff, Cald. Knt My Rowe heart Rowe et cet
et cet.
Luciana bids Antipholus, * become disloyalty ; Apparel Vice, like Viitne's harbinger.'
And in Kmg Johfi^ V, i, Falconbridge exhorts the king to * glister like the god of
war, When he intendeth to become the fields'
239. hoUa] Skxat: Holla^ HoUoy stop, wait! (French). Not the same word as
haliooy and somewhat difierently used in old authors. The tme sense is stop ! wait I
and it was at first osed as as interjection simply, though early confused widi halloo^
and thus acquiring the sense of to shout * Holla, stand there.' — Othu I, ii, 56. [The
present passage citedw] French hold^ * an interjection, hoe there enough ; . . . . also,
hear you me, or come hither.'^-Cotgra,ve. French ho, interjection, and Id, there.
The French Zi is an abbreviation from Latin iHaef that way, there, originally a femi-
nine ablative, from illu, pronoun, he yonder, which is a compound of iUe, he, and the
enclitic ce, meaning * there.' — Lear, III, i, 55 ; Tkifelfth N. I, v, 291. But note that
there is properly a distinction between holla (with final a), die French form, and hallo
(with final 0), a variant of halloo^ the English form. Confusion was inevitable ; it is
worth noting that die Fr. Zi accounts for the final tf, just as Ang. Sax. Zi accounts for
the final or 00; since Ang. Sax. A becomes long o by rule, as in bdn, %bone, stdn, a
stone.
239. the] Walker (CriL ii, 231) has a chapter on the confiision of thy and the,
of which confusion the present word is an instance. Rapid pranunciation will, I
think,, account for this apparent confusion in many an instance. The every-day speech
of the Quakers, or < their Friends' language,' as they call# it, furnishes finequent
examples.-— Ed.
24a vnseasonably] Apparendy through a mere oversight Steevens in his edition
of 1793 inserted very before this word; thereupon the enxnr curvetted unseasonably
through the Variorums of 1803, 18x39 182X, and Singer's first edition, until Knight
cried holla to it-— Ed.
241. hart] Steevens: A quibble between heart and hart, [See Schmidt, x. v,
hearty for die same pun elsewhere.]
242. I woald] See Abbott, $ 329, for other exan^les of * would ' used for wUl,
wish, require.
242. burthen] Chappell (p. 222) : The ' burden ' of a song, in die old accepta-
tion of the word, was the base, foot, or trnder-song. It was sung throughout, and not
merely at the end of the verse. ' Burden ' is derived from bourdoun, a drone base
(French, bourdon), * This sompnour bar to him a stif burdoun, Was nevere txonqM
of half so gret a soun.' — {^Cant, Tales, ProL, line 673, ed. Monris]. We find as early
as 1250 that Somer is icumen in was sung with a foot^ or burden. In two parts through-
out (* Sing cuckoo, sing cuckoo ') ; and in the preceding century Giraldus had noticed
the peculiarity of the English in singing under-parts to their songs. That * burden *
still bore the sense of an under-part or base, and not merely of a ditty, see A Quest
164
AS YOU LIKE IT
[act III, sc. ii.
Rof. Do you not know I am a woman, when I thinke,
I muft fpeake : fweet, fay on. 245
Enter Orlando & Toques.
Cel. You bring me out 5oft, comes he not heere ?
Rof. 'Tis he, flinke by, and note him. 248
244. when'\ what Han.
246. Scene VII. Pope + .
Enter...] After line 248, Dyce.
247. out'\ontY^,
247. heere\ neere F,. near F^F^.
248. flinke\ fling F^F^.
Cel. and Ros. retire. Theob.
of Inquiry ^ &c. 1595, where it is compared to the music of a tabor: ' Good people,
beware of wooers' promises, they are like the musique of a tabor and pipe : the pipe
says golde, giftes, and many gay things ; bat performance is moralised in the tabor,
which bears the burden of '' I doubt it, I doubt it" ' So in MucA Ado, III, iv, 44,
Margaret says, ' Qap's into ** Light o' love ;** that goes without a burden * [there
being no man or men on the stage to sing one. — Chappell] : * do you sing it, and I'll
dance it' Ugh/ 0* Lave was therefore strictly a baUety to be sung and danced
Many of these burdens were short proverbial expressions, such as : * 'Tis merry in hall
when beards wag all.' .... Other burdens were mere nonsense, words that went glibly
off the tongrue, giving the accent of the music, such as hey nonny, nonny no ; hey derry
down, &c. [See IV, ii, 14.]
247. bring me out] Almost a repetition of what she had just said ; which explains
itself. Wright cites Lovis Lab. L. V. ii, 171 : 'They do not mark me, and that
brings me out.' If the reference in the present instance be not exclusively to music,
our modem idiom has merely substituted /«/ for * bring.' — Ed.
248. Cowden-Clarke : One of Shakespeare's touches of womanly nature. Rosa-
lind, so eager to hear of him, so impatient to extract every particle of description of him,
the instant she sees Orlando approach, draws back, and defers the moment of meet-
ing him. In the first place, she cannot bear to join him while he has another person
with him, and waits till Jaques is gone ; in the next place, she wishes to look upon
him before she looks at him face to face ; and lastly, she is glad to have an interval
wherein to recover from her first emotion at hearing he is near, ere she accosts him in
person. Dramatically, also, the poet is skilful in this pause ; he gives opportunity for
the dialogue between Jaques and Orlando, showing them together, and making the
latter avow his passion for Rosalind (in her very presence, though unconsciously)
before he brings the lover to his mistress. Lady Martin (p. 405) : It was surely
a strange perversion which assigned Rosalind, as it once assigned Portia, to actresses
whose strength lay only in comedy. Even the joyous, buoyant side of her nature
could hardly have justice done to it in their hands ; for that is so inextricably mingled
with deep womanly tenderness, with an active intellect disciplined by fine culture, as
well as tempered by a certain native distinction, that a mere comedian could not give
the true tone and colouring even to her playfulness and her wit. These forest scenes
between Orlando and herself are not, as a comedy actress would be apt to make them,
merely pleasant fooling. At the core of all that Rosalind says and does lies a passion-
ate love as pure and all-absorbing as ever swayed a woman's heart Surely it was the
finest and boldest of all devices, one in which only a Shakespeare could have ventiu^d,
to put his heroine into such a position that she could, without revealing her own secret.
ACT III. sc. ii.] AS YOU LIKE IT 165
laq. I thanke you for your company, but good faith
I had as liefe haue beene my felfe alone. 250
OrL And fo had I : but yet for fafhion fake
I thanke you too, for your focietie.
laq. God buy you, let's meet as little as we can.
OrL I do defire we may be better ftrangers. 254
251, 252. Prose, Pope et seq. Wh. Dyce. ht vn* Cla. Rife, de with
253. buy\ Ff, Cam. b^tt^ Rowe+. Steev. et cet
be ft/ Cap. Mai. Sta. bye. Coll. b' wi*
probe the heart of her lover to the very bottom, and so assure herself that the love which
possessed her own being was as completely the master of his. Neither could any but
Shakespeare have so carried out this daring design, that the woman, thus rarely placed
for gratifying the impulses of her own heart and testing the sincerity of her lover's, should
come triumphantly out of the ordeal, charming us during the time of probation by wit,
by fancy, by her pretty womanly waywardness playing like summer lightning over her
throbbing tenderness of heart, and never in the gayest sallies of her happiest moods
losing one grain of our respect. No one can study this play without seeing that,
through the guise of the brilliant-witted boy, Shakespeare meant the charm of the
high-hearted woman, strong, tender, delicate, to make itself felt. Hence it is that
Orlando finds the spell which * heavenly Rosalind ' had thrown around him drawn
hourly closer and closer, he knows not how, while at the same time he has himself
been winning his way more and more into his mistress's heart. Thus, when at last
Rosalind dofis her doublet and hose and appears arrayed for her bridal, there seems
nothing strange or unmeet in this somewhat sudden consummation of what has in
truth been a lengthened wooing. The actress will, in my opinion, fail signally in her
task who shall not suggest all this, and who shall not leave upon her audience the
impression that when Rosalind resumes her state at her father's court she will bring
into it as much grace and dignity as by her bright spirits she had brought of sunshine
and cheerfulness into the shades of the forest of Arden.
249-254. Both Walker {^Crit. i, l) and Abbott (§511) suggest that this passage is
Terse. The arrangement proposed by the former happens, however, to be exacUy the
division of lines as given here in the Folio. Unless the whole scene were converted
into verse, it is not easy to see what gain would accrue from thus converting these few
lines. We must not foiget how seldom Shakespeare's prose in serious passages is
wholly unrhythmical; it is almost alwajrs metric. — ^Ed.
250. my selfe] Abbott, § 20 (foot-note) : * Mjrself ' seems here used for our by
myself,
253. Qod buy you] Walker ( Ven, 227) : God be with ycu is in fact Godb^ wi'
you ; sometimes a trisyllable, sometimes contracted into a dissyllable ;^-now Good bye.
(Quere, whether the substitution of good for God was not the work of the Puritans,
who may have considered the familiar use of God's name in the common form of
leave-taking as irreverent ? I suggest this merely as a may-be^ This form is vari-
ously written in the Folio and in old editions of our other dramatists ; sometimes it
is in full, even when the metre requires the contraction ; at others God b* wP ye, God
be wy you, God bwy, God buy, &c. I have noticed the form God i^ wC you as late as
Smollett [JRotUrick Random, chap, iii) : < B' wye, old gentleman ' ; if not later.
i66 AS YOU UKE IT [act hi, sa ik
laq. I pray you marre no more trees with Writing 255
Loue-fongs in their barkes.
Orl. I pray you marre no moe of my verfes with rea-
ding them ill-fauouredly.
laq. Ro/aHnde is your loues nam^ Orl. Yes^ lull.
laq. I do not like her name. 260
Orl. There was no thought of pleafing you when ftie
was chriften'd.
laq. What ftature is flie of?
Orl. luil as high as my heart
laq. You are ful of prety anfwers : haue you not bin ac- 265
quainted with goldfmiths wiues,& cond th5 out of rings
257. moe\ Cla. Rife, mo Mai. more 266. cond^ cottn'd Rowe. conned
Ffetcet Knt.
261. no\ not F,.
257. moe] SxxAT: The moden EngHdi word more does duty for two Middle
English words whidh were, generally, well 4istingiiidied, viz. : mo and more, the former
relating to number, the latter to size. x. Middle Englifth mo, moie in nmnber, addi-
tionaL *Mo than thxies ten '••more tiian thirty in number; Chaucer, C. T. ST^.—
Ang, Sax. md, both as a(^. and adv., Grein,ii, 201 This A. S. md seems to have
been originally an adrerbial fern ; it is cognate with Ger. moAr, Goth, mats, adv., Lat
aM^. .... 2. Mid. £ng. nt«rv, larger in size, bigger; ' snore and lesse ' — greater and
smaller, Chaucer, C. T. 6516. (The distinction between mo and more is not tUmt^
observed in old anthofS,bat very often it appears clearly enough) — ^A. S. mirs, greater,
laiger; Greio, ii, 2x2. .... This is really a double con^>arative, with the additional
oomp. suffix -Ttf. .... It deserves to be noted that some grammarians, perceiviBg that
W90-re has one oonpasative suffix more than mo, have rushed to the conclusion that
fvtf is a positive form. This is false ; the positive forms are mickle, much, and ^)rac-
licaily) mmny^ [A aomewhat different ground of distinction is laid down by the
German grammarians, with whom Wright appaiently agrees. It was suggested fint
by MoMMSBN (I ^peak subject to correction), in his edition of Rom. 6f*. Jul. p. X2
(dted by Mfttzncr, i, 277, trans. Grece); who, on die authority of an assertion by
Alexander Gil that mo is plural in form, said diat he * knew of scarcely a single pas-
sage in any poet of that age where mo was used with the singular.' The inference is
that he held m« to be used with plurals and nwre with singulars. What we merely
infer firom Mommsen is laid down with emphasis by Koch (GrammaHk, ii, 20^-*
cited by Wright), who says : * The difference seems to be firmly fixed that more is
used with the singular and mo with the plural; whence it comes that the oldest
grammarians, like Gil and Wallis, set forth mo as the coapmUive of wumy, and mare
6ie compandve of much. Finally, Wkight, with a broader knowledge, says that
< die distincdon appears to be that ** mot " is used only with die plural, ** more " both
widi singular and pUsal.' See Wright's 'Additional Note,' V, i, 34.— -Ed.]
266. wiues . . . rings] The shop-keqpers wives decked out in fine clothes were
wont to sit before their doors, and had it in their power by their engaging manners
gready to augment dieir husbands' custom. Goldsmiths' Row In Cheapside was the
ACT III. sc ii.] AS YOU LIKE IT 16;
OrL Not fo : but I anfwer you right painted cloath| ^7
from whence you haue ftudied your queftions.
laq. You haue a nimble wit ; I thinke 'twad made of
Attalantafs heeles« Will you fitte downe with me, and ^70
wee two^ will raile againft our Miftris the worlds and ail
our mlferie. 272
267. you] your Mason. 468* your] you F^.
right'\ rightfKiy^rt, rigkiin the 271. Miftris} mistress^ Pc^ + , Cap.
style of the Yim, Mai.
pride of London for its display of glittering ware, and naturally a resort for young
fqps with more money than brains. The sneer at Orlando is not even thinly yetled.
In Arber's English Garner^ i, 611, Is to be found a collection of Love Posies for rings,
many hundred in number, from a MS of about 1596. Other specimens of them may
be found in Tusser's Five Hundred Points of Good Husbandry, and Wright reien to
Fairholt's Rambles of an Archaologisty pp. 142, 143. — £d.
267. painted cloath] Capell : In the painted cloth style, t . e. briefly and pithily.
Tapestries are improperly caird painted cloths : therefore the cloths here alluded to
seem rather those occasional paintings that were indeed done upon doth, L e. Hnneil
or canvas ; and hung out by the citizens Upon different publick occasions, but chiefly
—entries ; the figures on these cloths were sometimes made to converse and ask ques*
tions, by labels coming out of their mouths ; and these are (he speeches that Jaqiiei
is accused of studying. There was also a furniture of painted doth ; (he derioes tnd
legends of one of them, the possessors of Sir Thomas More*s woriui may See among
his poems. [Steevens was evidently one of these possessors ; he quotes from Sir
Thomas Morels Works, 1557 :] < Mayster Thomas More in hys youth devysed in hyi
father's house in London, a goodly hangyng of fyne paynted clothe, with nine
pageauntes and verses over every of those pageaontes ; which verses expretted and
declared what the ymages in those pageauntes represented! and abo in those
pageauntes were paynted the thynges that the verses over (hem dyd (in effecte)
declare.' [Theobald having spoken of this * painted cloth ' as ' tapestry,' Nares coi^
lects him, and 8a3rs < it was really cloth or canvas painted in oil with various devices
or mottoes. Tapestry, being both more costly and less durable, was nnich less used,
except in splendid apartments; nor though coloured could it properly be called
<' painted." ' [Steevens, Malone, Knight, Halliwell, all give lefierences thronghooC
Elixabethan literature to this painted doth, with specimens of the mottoes, but refer-
ences from Shakespeare himself are all that is needful, and are fiEor more satiafactoty.]
Theobald : See R, of L. 244 : < Who fears a sentence, or an old mans saw Shall by
a pafaited doth be kept in awe.' Wright : The scenes were frequently of Scriptait
subjects. Compare / Hen, IV: IV, ii, 28: 'Slaves as ragged as Lazams m tbt
painted cloth.' And m Hen, IV: II, i, 157 : <And for thy walls, a pretty tfight
drollery, or the story of the Prodigal, or the German hunting in waCer-woik, is worth
a thousand of these fly-bitten tapestries.' Rolte : Compare Loif^s Lah, L, V, U,
579, and Thf. ^f Cress, V, x, 47. Johnson : This may mean, I give you a trtte
painted cloth answer; as we say, she talks right Billingsgate; that is, exactly iscll
language as is used at Billingsgate. [For the oonstraction see * speake sadde ht^mf
line 209; and for ' right ' see < right Batterwonias rank,' line 96.]
i68 AS YOU LIKE IT [act hi, sc. u.
Orl^ wil chide no breather in the world but my felfe 273
againft whom I know mod faults.
laq. The word fault you haue,is to be in loue. 275
Orl. *Tis a feult I will not change, for your beft ver-
tue : I am wearie of you.
lag. By my troth, I was feeking for a Foole, when I
found you.
Orl. He is drown'd in the brooke, looke but in, and 280
you ftiall fee him.
laq. There I ftial fee mine owne figure.
OrL Which I take to be either a foole, or a Cipher.
laq. He tarrie no longer with you, ferewell good fig-
nior Loue. 285
Orl. I am glad of your departure : Adieu good Mon-
iieur Melancholly.
Rof. I wil fpeake to him like a fawcie Lacky. and vn-
der that habit play the knaue with him, do you hear For-
Orl. Verie wel, what would you ? (refter. 290
273. breather] brother Rowe i. 287. CcL and Ros. come forward.
274. mo/f\ no Ff, Rowe« Pope, Han. Theob.
275. you] yon F,. 288. Aside to Cel. Cap.
285. Exit.] Rowe. After line 287, 289. himy] him: Rowe+. him~^
Cap. Johns, him. Cap. et seq.
286. Scene VIII. Pope+.
273. breather] M alone: So in the 8ist Sonnet: < When all the breathers of this
world are dead.' Again, in Ant. 6f* CUop^ III, iii, 24 : < She shows a body rather
than a life, A statue than a breather.' Halliwell : < Let a man examine himself;
for if we would judge ourselves, we should not be judged.' — / Corinthians^ xi. It is
Law, if I recollect rightly, who observes, not imagining he was nearly quoting Shake-
speare, that every man knows something worse of himself than he is sure of with
respect to others. Moberly : As Jaques had been routed by the Duke's sound and
vigorous reflections in II, vii, so here Orlando's sound-heaitedness, and afterwards
Rosalind's caustic criticisms, make short work with his melancholic view of life.
274. know most faults] See Text Notes. It is to be regretted that neither Pope
nor Hanmer has vouchsafed to us an interpretation of this fine speech, which, by fol-
knring the later Folios, they have transformed fixnn modest humility to the extreme
of boastful arrogance. — Ed.
282. Is it quite in keeping with Jaqnes's mother-wit that be should thus tamely lall
into the trap set for him by Orlando ? — Ed.
283. Cipher] White (ed. ii) : A pun on ' sigh for,' with an allusion to Narcissus.
[Grant White, in his Preface (p. xii), sajrs that * in determining what passages were
sufficiently obscure to justify explanation,' he ' took advice of his washerwoman.' It
is a comfort to know the source of die foregoing note. — Ed.]
289. Lady Maetin (p. 418) : At this moment Orlando is seen approaching with
ACT III, sc. U.] AS YOU LIKE IT 169
Rof. I pray you, what i'ft a clocke ? 291
OrL You fhould aske me what time oMay: there's no
clocke in the Forreft.
Rof. Then there is no true Louer in the Forreft, elfe
fighing euerie minute, and groaning euerie houre wold 295
deteft the lazie foot of time, as wel as a clocke.
OrL And why not the fwift foote of time ? Had not
that bin as proper ?
Rof. By no meanes fir ; Time trauels in diuers paces,
with diuers perfons : He tel you who Time ambles with- 300
all, who Time trots withal, who Time gallops withal,
and who he ftands ftil withall. 302
299. /tfr«] places FjF^, Rowc i. 300. diuers\ diver/e F,.
Jaques through the trees. A glance assures Rosalind that it is indeed he ; but now
the woman's natural shyness at being discovered in so strange a suit comes over her.
'Slink by and note him,' she says; and withdrawing along with Celia to a point
where she may see and not be seen, she listens, with what delight we may conceive,
to the colloquy in which her lover more than holds his own when the misanthrope
Jaques rallies him on being in love and marring the forest trees < with writing love-
songs in their bark.' On the assurance given by Orlando's answers that she is the
very Rosalind of these songs, her heart leaps with delight Not for the world would
she have Orlando recognise her in her unmaidenly disguise; but now a sudden
inq>ulse determines her to risk all, and even to turn it to account as the means of test-
ing his love. Boldness must be her friend, and to avert his suspicion her only course
is to put on a ' swashing and a martial outside,' and to speak to him * like a saucy
laquey, and under that habit play the knave with him.' He must not be allowed for
an instant to surmise the * hidden woman's fear ' that lies in her heart. Besides, it is
only by resort to a rough and saucy greeting and manner that she could mask and
keep under the trembling of her voice and the womanly tremor of her limbs. I
alwajrs gave her * Do you hear, forester ?' with a defiant air, as much as to say, < What
are you, a stranger, doing here, intruding in the forest on those who are " natives of
the place " ?' With such a swagger, too, that Orlando feels inclined to turn round
ihaiply upon the boy, as he had just done upon the C3mical Jaques.
295, 296. Abbott refers to Rich, II: V, v, 50, etc. : < For now hath time made me
his numbering clock ; My thoughts are minutes ; and with sighs they jar Their watches
on unto mine eyes, the outward watch. Whereto my finger, like a dial's point, Is point-
ing still, in cleansing them from tears. Now, sir, the sound that tells what hour it is
Are dambrous groans, which strike upon my heart, Which is the bell ; so sighs and
tears and groans Show minutes, times, and hours.'
296. detect] Allen (MS) : To < detect ' rather implies discovery by indications
(reKfjt^piov). Then, taking the liberty (as Shakespeare does) to use the verb intransi-
tively, it may mean here : A groan once an hour and a sigh once every minute jw^
indications of the progress of time.
300, &c. who] See Abbott, § 274, for many, other examples of this common use of
' who ' for whom.
I70 AS you LIKE IT [act hi. sc. ii.
Orl. I prethee, who doth he trot withal t 303
3031 316. who'\ whom Ff, Rowe+, Cap.
303-315. Mrs Griffith (p. 84, foot-note) says that to * trot bard * means fa trot
high, < which is the most fatiguing rate to a traveller.' Hunter (i, 349) : This por-
tion of this very sprightly dialogue appears to have undergone dislocation at a very
early period, for the old copies and the new are alike. To trot hardy at least in the
present use of the phrase, is a rapid motion, only just below the gallop. How, then,
can it be said that Time * trots hard ' when a se'ennight seems as long as seven years ?
A slow motion is intended, such as is meant by the word ambling. Again, Time
passes swiftly with the easy priest and the luxurious rich man who is free firom gout.
He * trots hard ' with them. And that this transposition is required appears fh)m the
order in which Rosalind proposed to show the divers paces of Time with diveiis per-
sons: I. ambling; 2. trotting; 3. galloping. I would therefore propose to regulate
the passage thus : ^Orl. I prythee who ambles Time withal ? Ros. Marry, he ambles
with a young maid, &c. Time's pace is so ambling, &c. OrL Who doth he trot
withal ? Ros. With a priest that lacks Latin, &c. There Time trots withal.' If this
is not accepted we are driven to the supposition that when Shakespeare speaks of
* trotting hard ' a slow motion is intended, and that ambling denotes a swift motion,
neither of which can, I think, be maintained. Whits : Of all the means of making
a short journey seem long, a hard-trotting horse is the surest ; while an ambling nag,
on the contrary, afibrds so easy and luxurious a mode of travelUng that the ridef
arrives all too soon at his joiuney's end. That Rosalind's comparison is between
comfort and discomfort, not speed and slowness, is, beside, conclusively shown by het
saying, afterward, that Time gallops with a thief to the gallows, < for though he go At
softly as foot can fall^ he thinks himself too soon there.' Haluwell : Can this
[* He trots hard with a young maid '] be accepted that Time appears so long to her
that it increases the necessary pace to enable him to overcome it ? The repetition of
the word hard shows that it is unlikely there is any misprint, but the term may per*
haps here be interpreted, with difficulty ^ very slowly, ' Solid bodies foreshow rain, aft
boxes and pegs of wood when they draw and wind hard.^ — Bacon. * Time goes on
cratches, till love hath all his rites.' — Much Ado [H, i, 372, cited by Malone]. It is
perhaps possible that Rosalind is referring to the idea that in matters of ardent desirb
even rapidity is reckoned a delay. < In desiderio etiam celeritas mora est-— in desyre,
in a thing that a man coveteth, even spede is counted a taryaunce.' — ^Taveraer's Mmi
Publianiy 1539 [cited by Caldecott]. Wright: The following defmition from
Holme's Armoury ^ B. II, c. 7, p. 150, justifies the original arrangement: 'Trot, or a
Trotting Horse, when he sets hard and goes of an uneasy rate.' The point is not
that Time goes fast, but that he goes at an uneasy pace, and therefore seems to be
slow. [I caxmot but agree with Hunter, not in any exchange of the phrases, but that,
in the case of the young maid it is the rate of the pace, not its quality, to which
Rosalind refers. I think that here < hard ' means fast. The speed of the trot is
increased by the shortness of the time. Invert the order of the sentence : ' If the
interim be but a sennight. Time will trot hard.' Are we not compelled here to inter-
pret * hard ' z&fast f What effect can the flight of time have on the quality of a trot
other than on its speed ? How can any shortness of the interim make a trot jaun-
cing ? The faster the trot, as every one knows, the easier it is. That the time seems
long because the trot is jauncing is a mere inference ; in actual experience the com-
fort or discomfort of such a trot depends not a Uttle on the use smd wont of the rider.
ACT in, sc. fi.] AS YOU LIKE IT 171
Rof. Marry he trots hard with a yong maid, between
the contraft of her marriage, and the day it is folemnizd: 305
if the interim be but a fennight^ Times pace is fo hard,
that it feemes the length of feuen yeare.
OrL Who ambles Time withal ?
Rof. With a Pried that lacks Ladne, and a rich man
that hath not the Gowt : for the one fleepes eafily be- 310
caufe he cannot (hidy, and the other liues merrily, be-
caufe he feeles no paine : the one lacking the burthen of
leane and wafteful Learning; the other knowing no bur-
then of heauie tedious penurie. Thefe Time ambles
withal. 315
Orl. Who doth he gallop withal ?
Rof. With a theefe to the gallowes : for though hee
go as fofUy as foot can iall, he thinkes himfelfe too foon
tfiere.
Ori. Who ftaies it ftil withal? 320
Rof. With Lawiers in the vacation : for they fleepe
betweene Terme and Terme,and then they perceiue not
how time moues.
OrL Where dwel you prettie youth ?
Rof. With this Shepheardefle my fifter : heere in the 325
skirts of the Forreft, like fringe vpon a petticoat.
Orl. Are you natiue of this place ?
Rof, As the Conie that you fee dwell where fliee is
kindled. 329
307. yeare] years F^, Rowc+, Mai. ^20,Jaus W] Uands hi Coll. (MS)
Steev. Coll. Sing. Ktly. ai, iii.
320. Who] Whom Ff, Rowe + . 329. kindled] kind-led Yo^ i.
Unquestionably, * hard ' may be applied to a trot in the sense of uneasy ^ and it is
apparently so used in Wright's citation fix)m Holme's Armoury^ but I doubt if it can
be restricted to this sense. Hunter thinks that a < slow motion ' is intended when Rosa-
lind says that * Time's pace is so hard that a sennight seems the length of seven years.'
To me it implies fast motion, seven years are compressed into a week ; the thoughts,
hopes, wishes, prayers of seven yean are felt and lived through while ' * the happy
pbmet dips forward under starry light' only seven times. — Ed.J
307. yeare] Wright : We still use po%ind and sUme with plural numerals as did
HanUet, III, ii, 298: <ril take the Ghost's word for a thousand pound.' Other
inatances of this use are in Tam. cf Shr^ Induct. II, 115 ; / Hen. IV: II, iv, 50; ^
Hm. IV: III, ii, 224.— Note on Temp. I, a, 53. [See V, ii, 62.]
327. natiue] Wright : ' Native,' as applied to persons, is always an adjectiTe in
Shakespeare.
172 AS YOU LIKE IT [act hi, sc. ii.
Orl. Your accent is fomething finer, then you could 330
purchafe in fo remoued a dwelling.
Rof. I haue bin told fo of many : but indeed, an olde
religious Vnckle of mine taught me to fpeake, who was
in his youth an inland man, one that knew Courtfhip too
well : for there he fel in loue. I haue heard him read ma- 335
ny Leftors againft it, and I thanke Grod,I am not a Wo-
man to be touch'd with fo many giddie offences as hee
hath generally taxM their whole fex withal.
Orl. Can you remember any of the principall euils,
that he laid to the charge of women? 340
Rof. There were none principal ^ they were all like
336. Ledors] LeOurs F,. Lectures 336. and'\Om. F^F^, Rowc+. .
F F
329. kindled] Skeat : To bring forth young. Middle English, kindlefiy kundlen,
. . . . Cf. also : ^Kyndlyn^ or brynge forthe yonge kjrndelyngis, Feto^ effeto,^ — Prompt,
Parv. p. 275. And in Wyclif, Luke iii, 7, we find * kyndlis of edderis ' in the earlier,
and < kyndlyngis of eddris ' in the later version, where the A. V. has < generation of
vipers.' .... It refers, in general, to a numerous progeny, a litter, especially with
regard to rabbits, &c. [It is still in common use in this country, and alwajrs, I
believe, restricted to rabbits. — Ed.] Cambridge Editors: In F^ and in Rowe-a
two editions the word ' kindled ' happens to be in two lines, and therefore divided
by a hyphen. Pope, misled by this, printed it in his first edition as a compound,
* kind-led,' interpreting it probably with reference to the gregarious habits ti the ani-
mal in question.
331. purchase] That is, simply, to acquire. In technical legal language all land,
howsoever acquired, other than by descent, is by purchase. — ^£d.
331. remoued] Reed : That is, remote, sequestered.
332. of many] See II, i, 54 or Abbott, § 170.
333. religious] Moberly: An uncle of mine, who is an aged monk or her-
mit Abbott (p. 456) refers to Rich* II: V, i, 23 : < Cloister thee in some religious
house.'
334. inland] See II, vii, loi.
334. Courtship] White: That is, court life. Schmidt: Used in the double
sense of civility and elegance of manners and of courting or wooing. So also Rom.
^ Jul. Ill, iii, 34: 'more honourable state, more courtship lives in carrion-flies than
Romeo.'
335. there] Allen (MS) : That is, at the court, implied in < courtship.'
336. L>ectors] White : This is one of the many evidences that the English of
Shakespeare's time has been remarkably preserved, even in sound, by the inhabitants
of New England. Throughout the Eastern States, even among a large proportion of
those who are < inland-bred and know some culture,' lecture is pronounced iectur,
Wright : In the same way in Bacon's Advatuement of Learnings 1605, p. 30, < ver^
dure is spelt ** verdor." '
337. touch'd] Cowden-Clarke : That is, tainted, infected.
ACT III, sc. ii.] AS YOU LIKE IT 173
one another, as halfe pence are, euerie one fault feeming 342
monftrous,til his fellow-fault came to match it
Orl. I prethee recount some of them.
Rof. No: I wil not caft away my phyfick, but on thofe 345
that are ficke. There is a man haunts the Forreft, that a-
bufes our yong plants with earning Rofalinde on their
barkes; hangs Oades vpoh Hauthomes, and Elegies on
brambles; all (forfooth) defying the name ol Rofalinde.
If I could meet that Fancie- monger, I would giue him 350
fome good counfel, for he feemes to haue the Quotidian
of Loue vpon him.
Orl. I am he that is fo Loue-fhakM, I pray you tel
me your remedie. 354
•
342. euerie oHe'\ every ones F^F^. 348. barkes] borkes F,.
Rowc. 349. defying] deifying Ff.
342. halfe pence] Wright : No ludfjpence were coined in Elizabeth's reign til]
1582-3. Bacon refers to <the late new halfpence' in the Dedication to the first
edition of his Essays^ which was published in 1597. Thej 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 dr-
culation, there was a propriety in saying < as like one another as halfjpence are.' They
were used till 1601. See Folkes, Table of Silver CoinSj p. 57.
343. monstrous] One of Walker's most valuable chapters is that on < Omissions
in consequence of Absorption' (Crit. ii, 254). On p. 264 he cites the present pas-
sage, and after it, follows, without comment, *Most monstrous ' ; which is, to me, a
decidedly plausible conjecture. The fault was not made less monstrous by having a
fellow-fault. It was its pre-eminence, its superlative degree, that was thereby taken
from it.— Ed.
344. recount some of them] Lady Martin (p. 420) : What an opening here
for her to put her lover to the test, to hear him say all that a loving woman most longs
to hear from him she loves, and he all the while ignorant that he is laying bare his
heart before her!
350. Fancie] Love.
351. Quotidian] Rushton [Shakespeare s EuphuisMy p. 90) : < Doubdesse if euer
she [liuia] hir selfe haue bene scorched with the flames of desire, she wil be redy to
quench the coales with courtesie in an other ; if euer she haue bene attached of loue,
she wil rescue him that is drenched in 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.' [Lily's Euphues^ p. 66, ed. Arber, — ^Wright In Greene's Planeto-
machioy 1585, we find * the peculiar affections of those men, in whom she [Venus]
is predomjmant,' and on p. 103 (ed. Grcsart), quotidian fevers are expressly men-
tioned as a symptom of love ; we there read : < the peculiar diseases to this starre are
Cathais, Coryse Branchy [qu. Coryza?], Lethargies, Palsies, .... quotidian feuers,
paines in the heade.' — ^Ed.]
174 ^^ you LIKE IT [act hi. sc. tk
Rof. There is none af my Vnckks markes vpon you: 555
he taught me how to know a man in loue : in which cage
of rufhes, I am fure you art not prifoner.
OrL What were his markes ?
Rof. A leane cheeke, which you haue not : a blew eie
and funken, which you haue not : an vnqueftionable Q)i- 360
rit, which you haue not : a beard neglected, which you
haue not:rt)ut I pardon you for that, for fimply your ha-
uing in beard^ is a yonger brothers reuennew) then your
hofe fhould be vngarter^d, your bonnet vnbanded, your 364
357. art} F,. 363. m] no Fi, Rcfwe, Pope.
355. There is . . . markes] See Abbott, § 335, for other instances of * the inflec-
tion in 'S preceding a plural subject'
356, 357. cag« of rushea} C. H. Hart {Mw SA. Soc. Trans., 1877-9, PL iii, p.
402) : * Gige * of course means prison here ; but if * cage of rushes ' be not taken to
mean a rush ring, or to allude to it, the phrase seems to me meaningless and de p riv ed
of its pitk. [For rusk rings, used in mock ceremonies of marriage, and much con-
ducing hereby to immorality, see Nares, s. Vk ; Brand's Po^, Ant. ii, p. 107 ; Skeat^i
Ikua NobU Kins. IV, I, S8— all cited by Hart. I doid)t if there be more of an alhi-
akm here to a custom, low and vu^ar at its best, than might be suggested by the mere
chance use of the word. It is in keeping with Rosalind's assumed disbeKef in Uke
strength of Orlando's k>ve, that she should refer to the bars of his prison as no more
than rushes. — Ed.]
359. blew eie] Steevens: That in, bhieBess about the eyes. White: That is,
hoUow-eyed. * Bhie e3re8 ' were called grey in Shakespeare's time. See * blue-eyed
hag,' Temp. I, ii, 370.
360. vnquestioiiablo] Chamier: Unwilling to be convened with. M. Mason-:
So in [III, iv, 34] RoeaHod says she had * much question ' with the Duke. And itt'
V, iv, 165, the Duke was converted after < some question with an old religious man;'
In both places, 'questkm^ means discourse or convettsaHon. [For mai^ moie
instances, see Schmidt, /. v. * Question,' die noi» and die verb. White refers ti>>
* Thou com'st in such a questionable shape,'— /^»i». I, iv, 43, where the word is used
in exactly the same sense ; that is, thou com'st in a shape so proper to be questioned,
and yet this line is often quoted as if * questionable ' meant * su^icious.']
362. hauing] Steevens : ' Having ' is possession, estate. So in Merry Wives, III,
11, 73: 'The gentleman is of no having.' [For nine or ten other examples see
Schmidt]
364. vngarter'd] Malone: The established and characteristical marks by which
the votaries of love were denoted in the time of Shakespeare. Thus, in The Fair
Maid of the Exchange, by He3rwood, 1637 : ' Shall I that have jested at lovers' sig^
now raise whirlwinds ? Shall I, that have flouted cth / m^s once a quarter, now prac-
tise ah ! M^s every minute ? Shall I defy hatbands, and tread garters and shoe-swings
under my feet ? Shall I fall to £dling-bands and be a ruff-an no longer t I must ; I
am now liege-man to Cupid, and have read all diese informations in his book of Stat-
utes.' — [p. 22, ed. Sh. Soc. Evidently these signs of love were unmistakeable in the
Ik.
ACT ni. sc. U,] AS YOU UKE IT 17S
fleeue vnbutton'd^ your (hoo vnti'de, and euerie thing 365
about you, demonftrating a careleffe defolation : but you
are no fuch man] you are rather point deuice in your ac«
couftrements, as louing your felfe, then feeming the Lo-
uer of any other. (I Loue.
Orl. Faire youth, I would I could make thee belecue 370
Rof. Me beleeue it ? You nuty aflbone make her that
367. poini^ a point F^F^. 367, 368. accoufiremnUsl Ff. Accm-
point deuice] pomt-de-vUe Johns. trements Rowe.
point-devise Dyce.
speaker's mind ; what he h$s just said is after he had seen the Fair Maid of the
Exchange; before he had seen her he says (p. 18) : 'if evVy tale of love, Or love
itself, or fool-bewitching beauty, Make me cross-arm myself, study ak-m^s. Defy my
hatband, tread beneath my feet Shoe-stringi and gaiters, practise in my glass Dis-
tressed looks, and dry my liver up, With sighs enough to wind an argo^, If ever I
turn thus fantastical, Love plague me/] Again, in How a Man may Choose a Good
Wife from a Bad, 1602 : * I was once like thee, A sigher, melancholy humorist.
Grosser of arms, a goer without garters, A hatband-hater, and a busk-point wearer/— «
[I, iii, p. 17, ed. HazUtt Hamlet*s ^ungartered stockings ' will occur to every one.—
Ed.]
364. vnbanded] The foregoing extracts^ cited by Malone, fairly illustrate this
whole passage. Wright quotes from The Anatomie of Abuses, 1583, where Stubbes
describes the fashions of hats : < An other sort have round crownes, sometimes with
one kinde of bande, sometimes with an other ; nowe blacke, now white, now russet,
now red, now greene^ now yellowe, now this, nowe that, never content with one
colour or fashion two dayea to an ende. .... Besides this, of late there is a new
fashion of wearing their Hattes sprung vp amongst them, which they father vpon the
Frenchmen, namely to weare them without bandes; but how vnseemelie (I will not
say how Assy) a fashion that is, let the wise judge.'— (p. 52, Collier's Reprint) [Part
I, pp. 50, 51, ed. New Sh. Soc]
367. point deuice] Stssvsns : That is, drest with 6nical nicety. So in Lov^s
Lab. L. V, i, 21 : < I abhor such fanatical phantasimes, such insociable and point-
devise companions.* Skeat : A shortened form of the older phrase at point device^
equivalent to with great nicety or exactitude, as : < With limmes [limbs] wrought at
point device;^ — Rom, of tkt Rose, 1. 830; a translation of Old French, 'i^ point devis,
i^ccording to a point [of exactitude] that is devised or imagined, &. ^. in the best way
imaginable.
Fletcher (p. 216): Who does not see the pleasure with which, under her
^cted disbelief, she dwells on the contrast which Orlando's neatness of personal
appearance presents to that of the ordinary but less healthy kind of lover, * about
whom everything demonstrates a careless desolation.'
367, 368. acGOUstiements] Wright : The early form of the French word. In
King John, I, i, 211, and in Tom. Shr. Ill, ii, 121, it occurs in the modem spelling.
371. Me beleeue it] Kekshtley's text reads *Make me believe it,' and in a note
(Exp, 160) he says : < Surely the passage thus gains not only in metre, but in spirit'
[This is the second time (see line 84 above) that Keighlley in a prose passage appeals
176 AS YOU LIKE IT [act hi, sc. ii,
you Loue beleeue it, which I warrant (he is apter to do, 372
then to confeffe (he do's : that is one of the points, in the
which women ftil g^ue the lie to their confciences. But
in good footh, are you he that hangs the verfes on the 375
Trees, wherein Rofalind is fo admired ?
OrL I fweare to thee youth, by the white hand of
Rofalindy I am that he, that vnfortunate he.
Ros. But are you fo much in loue, as your rimes fpeak ?
OrL Neither rime nor reafon can expreffe how much. 380
Rof: Loue is meerely a madnefle, and I tel you, de-
ferue?' Ss^wel a YfiHce houfe, iiljd'-a'^hip, as madmen do :
and the reafon why they are not fo puni(hM and cured, is
that the Lunacie is fo ordinarie, that the whippers are in
loue too : yet I profeffe curing it by counfel. 385
OrL Did you euer cure any fo ?
Rof, Yes one, and in this manner. Hee was to ima-
gine me his Loue, his Miftris .• and I fet him euerie day
to woe me At which time would I, being but a mooni(h
youth, greeue, be effeminate, changeable, longing, and 390
liking, proud, fantaftical, api(h, (hallow, inconftant, ful
381. and'\ andf Rowe, Theob. et seq. 389, &c. woe] woo Rowe.
to the needs of metre. I suppose that he Msiimes all of Shakespeare's prose to be
metric prose, and he therein comes near the truth. I dare not say how flat his
present emendation strikes me. * Me believe it !' is absolute Rosalind ; just as, after-
wards, she says • you a lover !* — ^Ed.]
378. that he] See line 1 1, or Abbott, § 224.
380. expresse how much] Lady Martin (p. 421) : Oh, how intently she has
watched for that answer ! with what secret rapture heard it ! But he must discern
nothing of this, so, turning carelessly away, and smiling inwardly to think she is her-
self an illustration of what she says, she exclaims : < Love is merely,' &c.
381. meerely] Staunton : It may not be impertinent to say, once for all, thif
' merely,' from the Latin merus, and * mere ' in old language, meant aSso/ts/efy, aUo-
gether^ purely. See II, vii, 148. In Lodge's Rosalynde : *And forth they pulled
such victuals as they had, and fed as merely as if they had been in Paris.'
382. See Malvolio's treatment in Twelfth Night.
387. Fletcher (p. 217) : Her answer shows us one of those subtle devices by
which Shakespeare so well knew how to exalt the ideal perfection of a favorite hero-
ine. The exquisite characterisation which she gives us of feminine caprice in the
weaker portion of her sex most beautifully sets off that contrary disposition by which
her every sentence makes us feel that she herself is animated.
389. moonish] Steevens : That is, variable. Halliwell : It is possible that it
may, however, be correctly rendered foolish^ weak; for Ben Jonson uses the term
moonJifig in the sense of a fool or a lunatic.
ACT III, sc. iL] AS YOU LIKE IT m
of teares, full of fmiles ; for euerie paflion fomething, and 392
for no paiTion truly any thing, as boyes and women are
for the mod part, cattle of this colour : would now like
him, now loath him : then entertaine him, then forfwear 395
him : now weepe for him, then fpit at him ; that I draue
my Sutor from his mad humor of loue,to a liuing humor
of madnes, w was to forfweare the ful ftream of y world,
and to Hue in a nooke meerly Monaftick : and thus I cur'd 399
397. my^ this Rowe. 397. liuing] loving Jolms. conj. Coll.
Statrr] SuUr F,. Smtor F^F^. i, ii, iii, Dyce, Sta. Huda.
from] for F^. 398. li] which Ff.
397. liuing] Johnson : If this be the true reading, we must by < living ' under-
stand lasting f or permanent; but I cannot forbear to think that some antithesis was
intended which is now lost ; perhaps the passage stood thus : I drove my suitor from
a dying humour of love to a living humour of madness. Or rather thus : From a
mad humour of love to a loving humour of madness, that is. From a madness that
was lovey to a love that was madness. This seems somewhat harsh and strained, but
such modes of speech are not unusual in our poet ; and this harshness was probably
the cause of the corruption. Farmer : Perhaps we should read : to a humour of
loving madness. Malone : <A living humour of madness ' is, I conceive, a humour
of living madness^ a mad humour that operates on the mode of living; or, in other
words, and more accurately, a mad humour of life; * — to forswear the world, and
live in a nook,* &c. Whiter (p. 51): Compare: *Give me a living reason she's
disloyal.' — 0th, III, iii, 470. That is, give me a direct^ absolute, and unequivocal
proof. Why then may not the < living humor of madness ' mean a confirmed, abso-
lute, and direct state of madness? This signification is easily deduced from the
sense which the original word bears in the phrases of < Done or expressed to the life *
— ad vivum expressum. Collier : The antithesis is complete if, with Johnson, we
read laving, which is only the change of a letter ; and this reading is supported by
the MS correction of the early possessor of the First Folio in the library of Lord
Francis Egerton. The meaning thus is, that Rosalind drove her suitor from his mad
humour of love into a himiour in which he was in love with madness, and forswore
the world. [It is also loving in Collier's (MS).] White: Loving is plausible, and
tly antithetical conceit quite in the manner of Shakespeare's time. Walker (Crit,
iii, 63) : Of course loving, [Walker gives five or six instances where unquestionably
* live * has been printed love, and * love * live.] Wright : But * living ' in the sense
of real or actual [as Whiter suggests] gives a very good meaning, and its resemblance
in sound is sufficiently near to keep up the jingle. [Wherewith the present editor
entirely agrees. — Ed.]
399. meerly Monastick] Allen (MS) : I wonder whether it should not be wnt-
ten : < to live in a nook, merely monastic ' ? That is, ' monastic ' as an adjective in
the nominative, < he becoming merely monastic,' i. e. absolutely religious,
399. Blackwood's Magazine (April, 1833): Who could resist this? Not
Orlando ; for, though love-stricken [Qu. because love-stricken ? — ^Ed.], he is full of
the power of life ; his passion is a joy ; his fear is but slight shadow, his hope strong
sunshine There is a mysterious spell breathed over his whole being from that
za
178 AS YOU LIKE IT [act ni, sc. ii
him, and this way wil I take vpon mee to wafh your Li- 400
uer as cleane as a found fheepes heart, that there (hal not
be one fpot of Loue in't
OrL I would not be cured, youth,
Rof. I would cure you, if you would but call me Rofar-
tindj and come euerie day to my Coat, and woe me. 405
Orlan. Now by the faith of my loue, I will ; Tel me
where it is.
Rof. Go with me to it, and He fliew it you : and by
the way, you (hal tell me, where in the Forreft you liue :
Wil you go f 410
OrL With all my heart, good youth.
Rof. Nay, you mufl call mee Rofalindx Come fitter,
will you go ? Exeunt. 413
401. eleane\cteare'E^, cUerY^, clear 4C)8. /Sr] /«e^Rowe+.
F^, Rowe+, Cap. 412. AStj'] Nay, nay F^, Rowc+.
405. Coaf^ cvU Rofre. cotte Theob.
sUver speech. Near the happy doae of the play the Duke says to him : < I do remem-
ber in this shepherd-boy Some Uvely touches of my daughter's favour.' And OrlaiKlo
answera : ' My lord, die fkst time that I ever saw him, Methonght he was a brother to
your daughter.' That sweet diought had passed across his mind at dieir first meeting,
although he did not tell the ' shepherd-boy.' .... And is not tiiis shepherd-boy with
* lively touches of my daughter's favour ' a thousand times better than a dead picture ?
It is a living full-length pictive even of Rosalind in a fancy-dress ; and 'tis easy as
delightful to imagine it die very original's own self, <die slender Rosalind,' *tbe
heavenly Rosalind,' 'tis * Love's young dream !'
400, 401. Steevens : This is no very delicate comparison, though pxxluced by
Rosalind in her assumed character of a shepherd. Halliwell: Tlie liver was con-
sidered the seat of love. Weight t See The Temp, IV, i, 56 : * The cold white vu--
gin snow upon my heart Abates the ardour of my Uver.' Compare the < jecur ulcero-
sum ' of Horace, Od. I, zxv, 15. [Forgetfulness of this £u:t, so femiliar to every
student, whether English or Classical, led Dr Bucknill (p. no) to prqx)se that the
words * heart' and 'liver' riiould be transposed. Whereto attention was called by
' Speriend,' Notes £r* Qu, 5th S. vol. iv, p. 182.]
406. I will] Neil : Francis, ' the dramatic Censor,' suggests the insertion here of
die words, ' The more so as thou hast strong traces of Rosalind's favour,' justified
by V, iv, 32, 33.
4x3. Fletcher (p. 2x8) : We must bear in mind that Orlando cannot be supposed
to lose sight for a moment of the resemblance in feature and in voice which the sup-
posed forest youth bears to his noble and graceful mistress. Nor does he any more
wish for his own cure than Rosalind herself desires it On the contrary, it is because
be feels the Hvely and delicate charm which he finds in this new acquaintanoe, opera-
ting, by strong affinity, to nourish and deepen the impression which his real mistress's
perfections have made v^n his heart, that he at last accepts the sportive invitation to
ACT III, sc. ii.] AS YOU LIKE IT 179
{will you sfo]
visit the cottage of the 6ctitiou8 Ganymede. Ou the other hand, Rosalind has secured
to herself the pleasure of hearing under her disguise the continued addresses of her
lover; while the fact of her remaining undiscovered is brought within the limits of
probability by the exceeding unlikelihood to Orlando's mind of such a metamorphosis
on the part of his princess, and yet more by the perfect self-possession and finished
address wherewith both she and her cousin are enacting their forest and pastoral parts,
as if they were as native to the scene, to borrow Rosalind's expression, ' as the coney
that you see dwell where she is kindled.' But, above all, she is talking herself more
deeply into love. How beautifully does this appear in her subsequent conversation
with Celia, when Orlando has failed to keep his wooing appointment : ' Never talk to
me, I will weep,* &c., and in her account of how she had avoided recognition by her
father, although she and her cousin had set out upon their wanderings on purpose to
seek him. Laoy Martin (p. 422) : I need scarcely say how necessaiy it is for the
actress in this scene, while carrying it through with a vivacity and dash that shall
divert from Orlando's mind every suspicion of her sex, to preserve a refinement of
tone and manner suitable to a woman of Rosalind's high station and cultured intel-
lect ; and by occasional tenderness of accent and sweet persuasiveness of look, to
indicate how it is that, even at the outset, she establishes a hold vepon Orlando's feel-
ings, which in their future intercourse in the forest deepens, without his being sensibly
conscious of it, his love for the Rosalind of his dreams. I never approached this
scene without a sort of pleasing dread, so strongly did I feel the difficulty and the
importance of striking the true note in it. Yet when once engaged in it, I was borne
along I knew not how. The situation in its very strangeness was so delightful to my
imagination that from the moment when I took the assurance from Orlando's words
to Jaques that his love was as absolute as woman could desire, I seemed to lose
myself in a sense of exquisite enjoyment A thrill passed through me ; I felt my
pulse beat quicker ; my very feet seemed to dance under me. That Rosalind should
forget her first woman's fean about her *■ doublet and hose ' seemed the most natural
thing in the world. Speak to Orlando she must at any hazard. But oh, the joy of
getting him to pour out all his heart, without knowing that it was his own Rosalind to
whom he talked,— of proving if he were indeed worthy of her love, and testing, at the
same time, the depth and sincerity of her own devotion ! The device to which she
resorted seemed to suggest itself irresistibly; and, armed with Shakespeare's words,
it was an intense pleasure to try to give expression to the archness, the wit, the quick,
ready intellect, the ebullient fancy, with the tenderness underlying all, which give to
this scene its transcendent charm. Of all the scenes of this exquisite play, while this
is the most wonderful, it is for the actress certainly the most difficult Grant Whits
(Studies^ &c., p. 254) : Now here most Rosalinds go shyly off with Celia and leave
Orlando to come dangling after them ; but when I read the passage I see Ganymede
jauntily slip his arm into Orlando's, and lead him off, laughingly lecturing him about
his name ; then turn his head over his shoulder, and say, * Come, sister !' leaving Celia
astounded at the boundless * cheek ' of her enamored cousin. [In a foot-note :] I
have used the words * cheek ' and * chaff' in connection with Rosalind, because they
convey to us of this day the nature of her goings-on as no other words would ; and
Shakespeare himself, who always treats slang respectfully, although he contemns and
cant, would be the first to pardon me.
i8o AS YOU LIKE IT [act hi. sc. ui.
ScoBua Tertia.
Enter Clazvne^ Audrey y & laques :
C/o. Come apace good Audrey, I wil fetch vp your
Goates, Audrey : and how Audrey am I the man yet ?
Doth my fimple feature content you ?
Aud. Your features, Lord warrant vs : what features ? 5
Scene IX. Pope+. 3. hciv] now F^F^ Rowe+.
2. Audrey] Audrie F,.
3. the man] Abbott, § 92 : T^e used to denote notoriety.
5. features] Steevens: Feat 91A feature^ perhaps, had anciently the same mean-
ing. The Qown asks if the features of his face content her ; she takes the word in
another sense, i. e. feats, deeds, and in her reply seems to mean what feats, i. e, what
have we done yet ? Or the jest may turn on the Clown's pronimciation. In some
parts, * features ' might be pronounced faitors, which signify rascals, low wretches.
Pistol uses the word in 2 Hen. IV: II, iv, 173, and Spenser very frequently. Ma-
lone : In Daniel's Cleopatra, 1 594 : * I see then artless feature can content. And that
true beauty needs no ornament' [III, ii, line 729, ed. Grosart]. Again, in The
Spanish Tragedy : * My feature is not to content her sight ; My words are rude, and
work her no delight' [II, i, p. 37, ed. Hazlitt]. 'Feature' appears to have for-
merly signified the whole countenance. So, in / Hen. VI: V, v, 68 : * Her peerless
feature, joined to her birth, Approves her fit for none but for a king.' Whiter (p.
51) : < Feature ' appears to have three senses. First, The cast and make of the face.
Secondly, Beauty in general. Thirdly, The whole turn of the body. Caldecott :
< Feature ' strictly \sform or figure. Nares : This passage may as well be explained
by supposing that the word ' feature ' is too learned for the comprehension of the sim-
ple Audrey. * Feature ' is sometimes used for form or person in general : ' She also
dofit her heavy haberieon. Which the fair feature of her limbs did hide.'-— Spenser,
Faerie Queene^ III, ix. As a magical appearance : * Stay, all our charms do nothing
win Upon the night ; our labour dies 1 Our magick feature will not rise.' — ^Jonson^
Mcuque of Queens. On the preceding charm Jonson's own note sajrs : < Here they
speake as if they were creating some new feature, which the devil persuades them to
be able to do often, by the pronouncing of words, and pouring out of liquors on the
earth.' Dyce: 'Feature' is form, person in general. Walker [Crit. ii, 305):
' Feature,' in its earliest form, the \j6!oxi factura, signifies, in our old writers, the make
of a person, his tout-ensemble. Jonson, Poetaster, II, i, Gifford, vol. ii, p. 4x6: 'her
hSx features* ; surely an error; in the very same scene, p. 4x8, 1. 4, we have, ' No
doubt of that, sweet feature ' ; as Browne, B. P. i, Song iv, Clarke, p. 112 : * from the
ruins of this mangled creature Arose so fair and so divine a feature, That envy from
her heart would dote upon her,' &c. ; and, I think, Milton, P. L.xi 'So scented the
grim feature ' ; abstractum pro concreto, utperscepe in poitt. vett. Anglicis. Uncertain
Poets, Chalmers, vol. ii, p. 439, col. 2, Praise of M. [Mistresse'\ M.:^\ woxe asto-
ACT III, sc. iii.] AS YOU LIKE IT i8i
[Your features . . . what features ?]
nied (?) to read the feator \^fe<Uure\ of her shape, And wondred that a mortall hart
such heavenly beames could scape.' Browne, B. P, B. i, Song ii, Clarke, p. 67 (of a
fountain) : * Not changing any other work of nature. But doth endow the drinker with
a feature More lovely,' &c. Spenser, F, Q. B. iv, C. ii, St. xliv : *And to her service
bind each living creature. Through secret understanding of their feature ' ; f . e, th^ir
construction, their make, C. ii, of Mutabilitie, St. iv : *And thither also came all
other creatures. Whatever life or motion do retaine. According to their sundry kinds
of features.' Carew, Epitaph on the Lady S., Clarke, Iviii, init. p. 76 : < The harmony
of colours, features, grace. Resulting airs (the magic of a face) Of musical sweet
tones, all which combined. To crown one sovereign beauty, lies confined To this dark
vault' Drunken Bamaby : < Where I sought for George k Green a ; But cou'd find
not such a creature. Yet on a sign I saw his feature,' &c. [p. 19, ed. 1805]. Dubartas,
i, vi, ed. 1 641, p. 54, col. 2 : * Can you conceal the feet's rare-skilful feature. The
goodly bases of this glorious creature?' Wright: There is possibly some joke
intended here, the key to which is lost. ' Feature ' in Shakespeare's time signified
shape and form generally, and was not confined to the face only. [In the TranS'
actions, 1877-9, Part I, p. loo, of The New Shakspere Soc, W. WiLKiNS * made
Touchstone use '* feature " in its etymological sense of ** making," that is, the Early
English making or writing of verses, as we use ^ composition,'* &c. now. Ben Jon-
son,' continues Furnivall, * seems to use the word in the same sense when he says
of his creature or creation, the play of Volpone, that two months before it was no
feature : ** think they can flout them, With saying he was a year about them. To
this there needs no lie, but this his creature. Which was two months since no feature."
— Prologue to Volpone, 1607. Mr. W. A. Harrison finds the same sense in Bp.
Latimer and Pliny : << Some of thenv ingendred one, some other such features, and
euery one in that he was deliuered of was excellent, politike, wise." — Frvitfull Ser-
mons, &c. by Master Hvgh Latimer, &c. 1596, Sig. B4, p. 12. Feture means here
" a thing made," " a production." Pliny (Praef. Lib. I) uses fetura figuratively of a
literary production, and calls his work on Natural History proxima fetura : " Libros
Naturalis Historise .... natos apud me proxima fetura." ' Nares's citations are also
repeated in a foot-note.] Brinsley Nicholson (Scofs Discovery of Witchcraft,
Reprint, 1886, p. 548) : *■ Feature.' An example of its being used for the make of a
man, and not merely of the features of his coimtenance, to which it is now appropri-
ated ; but till I can find — and as yet I have found none, though I have looked out for
it — an example of feature used for things inanimate, I cannot accept the interpretation
of song or sonnet in [the present passage.] Did it refer to verse we should expect
features All Touchstone's reference to verse-making in this passage may readily
have arisen from his reference to his new situation as like that of the honest poet Ovid
among the Goths. Had he been poetical and given her verses, he could not have
explained to Audrey that he, being a poet, only feigned to love her. [We know, from
Steevens's note, that the jest was lost over a hundred years ago, and it seems vain to
hope to find it now. We may have our own little explanations and theories, but it is
doubtful that any can be now proposed which will be generally accepted. The latest
that has been offered, that of Wilkins and of The New Shakspere Soc., is to me far
from satisfactory, and indeed is scarcely a clue to the joke at all, which does not lie
in what Touchstone sajrs, but in Audrey's interpretation. It makes but little differ-
ence to us what Touchstone's ' feature ' is ; it may be anything in the world, from a
sonnet to the cut of his beard, it may be < feature ' in the sense of composition^ or it
iSa AS YOU LIKE IT [act hi, sc. Hi,
Clo. I am heere with thee, and thy Goats, as the moft 6
capricious Poet honeft Ouid was among the Gothes.
7. Gothes] Goths F^.
may be, which I think extremely probable, that the sentence is merely a repetition by
Touchstone, in different words, of his previous question, < am I the man yet ?' But
what is important, and most be known before our lungs can crow like chanticleer, is
the meaning that Audrey attaches to it which necessitated a < Lord warrant us ' when
she alluded to it. Here lay the jest, and I think it still lies there, not in Touchstone's
meaning, but hidden in his pronunciation of < feature,' as Steevens suggested. We
need have little doubt that the ai in ' feature ' was pronounced to rhyme with the a in
our pronunciation of nature. ElUs (Early Eng. Pronun. p. 992) gives * feature * in
palseotype as ' fee-tyyr,' wherein ' ee ' has the sound of a in Mary, and < yy ' the sound
of the German softened il. By the analogy of < Lectors,' however, which we had in
the last scene, and of many simitar words, I think we have a right to suppose that
Touchstone varied this pronunciation and may have said < fee-tor.' If so, Audrey
may readily have accepted it as meaning ^(/<^, which is exactly what Steevens sug-
gested. Faitor means a cheat, a vagabond, a villain. Pistol in a Hen, IV: II, iv,
173, says ' Down, down, dogs ! down, faitora !' and in Spenser we have < The false
faitor Scudamore.' If this be the jest, it is not, it must be confessed, side-splitting,
but it is quite enough to disconcert Touchstone, who was fishing for a compliment,
whether we take ' feature ' to mean his manly proportions (as I think he means it) or
his verses, as Wilkins supposes. In support of the latter interpretation it is a little
unfortunate that no other exactly parallel instance of the use of ' feature ' in the sense
of factura has been dted. In the quotation from Jonson's Volpone the allusion is
more physiological than psychological, and, it seems to me, clearly refers to the shape
or outline of his play. If, however, Jonson, with his unquestionable scholarship, here
uses * feature ' in its classical sense, it should be classed, I think, with the fetura of
Pliny (cited above by Harrison), which comes from quite a different root, and has
quite a difiierent meaning, frcfOL factura. There may well have been some peculiarity,
not confined to Touchstone, in the pronunciation of * feature.' In Willobie's Avisa,
1594, on pp. 19, 46, 99 (ed. GiDSart), it is spelled fevfture, and in no other way, as
fer as I noticed. This may have been a peculiarity of a Northern dialect, of which
there are other indications in the poem, or it may have arisen from some peculiarity
in the handwriting of ' Hadrian Dorrell,' but at any rate I think it helps to justify us
in looking to Touchstone's pronunciatioQ as the source wherein Audrey's jest lies
perdu.— Ed.]
5. Farmer : I doubt not this should be < Your feature I Lord warrant us ! what^s
feature P
7. capricious] Caldecott: Caper, capri, caperitious, capricious, fantastical,
capering, goatish ; and by a similar process are we to smooth < Goths ' into ' goats.'
Dyce quotes Lettsom : No doubt there is an allusion to caper here : but there seems
to be also one to capere; at least the word capricums may be used in the sense of
< taking.' Compare [Brewer's ? — Dyce] Lingua, II, ii : ' Carry the conceit I told you
this morning to the party you wot of. In my imagination 'tis capricious; 'twill take,
I warrant thee.' — [p. 368, ed. Hazlitt].
7. Gothes] Caldecott : In our early printing Goths and Gothic were spelt Gotes
and Gottishe, Wylliam Thomases Historye of Italye, 1561, foi. 86: 'agamst the
gota\' and fol. 201 : 'Attila, kyng of the GotL* So in Chi^Mnan's Homer, passim.
ACT in, sc. iii.] AS YOU UKE IT 183
laq. O knowledge ill inhabited, worfe then loue in 8
a thatch'd houfe.
8, 29, 42. Aside. Johns, et seq.
White (Introd. to Much Ado, p. 226, ed. i) : This joke of Touchstone's is quite deci-
sis upon the point that the combinatioa oth was sometimes, at least, pronounced ote.
If the pronunciation of ' Goths ' was not gotes^ he might as well have said < among the
Vandals.' [See also vol. xii, p. 431 of Grant White's first edition, where, in one of
the earliest attempts to fix the pronunciation of Elizabethan Eqglish, White argues
rather more strongly perhaps than he would have maintained in his maturer years that
*d, thf and / were indiscriminately used to express a hardened and perhaps not uniform
modification of the Anglosaxon *$.' Ellis (Early Eng. Pronunctalion, p. 971) reviews
at length White's conclusions and dissents from them : * there does not appear,' he
says, p. 972, * to be any reason for concluding that the genuine English M ever had the
sound of /, although some final /'s have fallen into M.' This seems to be stated a little
too broadly, especially with Touchstone's joke before us, which Ellis elsewhere recog-
nises, but refers to the category of Latin, Greek, and Hebrew words in which at that
time there was probably great uncertainty of pronunciation. Again, there is a little
strain in thus classing with Latin, Greek, or Hebrew a word as thoroughly Anglo-
Saxon as 'goat'
We all know that poor Ovid for an unknown misdeed was banished to the bleak
shores of the Euxine among the Getae, who are the Goths.— Ed.]
8. inhabited] Steevens : That is, ill-lodged. An unusual sense of the word. A
mmilar phrase occurs in Re3molds' Gad's Revenge against Murder, book v, hist 21 :
* Pieria's heart is not so ill-lodged, .... but that she is very sensible of her disgrace.'
Again, in The Golden Legend, ed. Wynkyn de Worde, fc^. 196 : ' I am ryghtwysnes
that am enhabyted here, and this hous is myne.' [' But,' adds Wright, * there is do
evidence that in ^lakespeare's time ''inhabit" was equivalent to "lodge" in the
active sense. Hi-lodged must be the meaning, although it is not easy to say why.']
Abbott thus explains this curious word, § 294 : Hence \u e, from the license in the
formation of verbs] arose a ciuious use of passive verbs, mostly found in the participle.
Thus * famous' d for fights ' (Sonn. 25) means ' made famous ' ; but in ' Who ....
would not be so lever' d^ — Z. C. ' lover'd ' means ' gifled with a lover.' And this is
the general rule : A participle formed from an adjective means ' made (the adjective),'
and derived from a noun means ' endowed with (the noun).' [Hereupon a page and
a half of examples follow, which see ; among them, the present phrase is interpreted
' nuide to inhabit' See also ' guiled shore,' Mer, of Ven. Ill, ii, 103.]
9. thatch'd house] Upton: That of Bauds and Philemon; 'Stipulis et caana
tecta palustri.' — Ovid, Met. viii, 63a [' The roole therof was thatched all with stiaw
and fennish reede.' — Golding's trans. 1567, p. xo6]. Knight: The same allusion is
in Much Ado, II, i, 99 : *Don Pedro, My visor is Philemon's roof; within the house
is Jove. Hero, Why, then, your visor should be thatched.'
9. Capell: Does not this reflection of Jaques upon Touchstone's speech vcogfij a
soit of conscioasness in the Poet, that he had nuide his clown a little too learned ?
for, besides that he has made him acquainted with Ovid's situation in Pontus, and his
complaints upon that subject in his Poems de Tristidus, he has put into his mouth a
conundrum that certainly proves him a latinist ; ' Capricious ' .... as if it had spnmg
directly from ea^, without the medium either of the French caprice or the Italian
i84 AS YOU LIKE IT [act hi, sc. iii.
Clo. When a mans verfes cannot be vnderftood, nor lO
a mans good wit feconded with the forward childe^ vn-
derftanding: it ftrikes a man more dead then a great rec-
koning in a little roome : truly, I would the Gods hadde
made thee poeticall.
Aud, I do not know what Poetical is : is it honefl in 15
deed and word: is it a true thing?
Clo, No trulie : for the trueft poetrie is the mod fai-
ning, and Louers are giuen to Poetrie : and what they
fweare in Poetrie, may be faid as Louers, they do feigne.
Aud. Do you wifh then that the Gods had made me 20
Poeticall ?
Clow. I do truly : for thou fwear^ft to me thou art ho-
ned : Now if thou wert a Poet, I might haue fome hope
thou didd feigne.
Atid, Would you not haue me honed ? 25
Clo. No truly, vnleffe thou wert hard fauour^d : for
12. 13. reckoning] reeking Han. 19. may] it may Mason, Coll. (MS)
11, 111.
capriccio : The Poet has indeed qualify'd his learning a little, by giving him < Goths '
for Getes,
13. roome] Warburton : Nothing was ever wrote in higher humour than this
simile. It implies that the entertainment was mean, and the bill extravagant
MoBERLY : To have one's poetry not understood is worse than the bill of a first-class
hotel in a pot-house. Rev. John Hunter : An extensive reckoning to be written out
in very small space. [Can this last interpretation possibly be right ? To me Moberly's
paraphrase is admirable, and the only one. — Ed.]
14. poeticall] Giles (p. 193) : Touchstone is the Hamlet of motley. He is bit-
ter, but there is often to me something like sadness in his jests. He mocks, but in his
mockery we seem to hear echoes from a solitary heart. He is reflective ; and melan-
choly, wisdom, and matter aforethought are in his quaintness. He is a thinker out of
place, a philosopher in mistaken vesture, a gentleman without benefice, a genius by
nature, an outcast by destiny.
15. honest] That is, chaste. So in I,.ii, 38, and ' dishonest,' V, iii, 5.
17, 18. the truest . . . faining] Capel Lofft (p. 285) : This was Waller's courtly
apology to Charles II for having praised Cromwell.
19. feigne] Johnson : This sentence seems perplexed and inconsequent ; perhaps
it were better read thus : What they swear as lovers, they may be said to feign as
poets. Mason : I would read : it may be said as lovers they do feign. Wright :
The construction is confused. Shakespeare may have intended to continue the sen-
tence 'may be said to be feigned.' [Mason's emendation is so trifling, and yet
effective withal, that, if change be necessary, it may well be adopted. But I think
change is unnecessary; confused as the construction is, the sense is quite intelligible.
—Ed.]
ACT III. sc. iii.] AS YOU LIKE IT 185
honeftie coupled to beautie, is to haue Honie a (awce to 27
Sugar.
laq. A materiall foole.
Aud. Well, I am not £iire, and therefore I pray the 30
Gods make me honeft.
C/o, Truly, and to caft away honeftie vppon a foule
flut,were to put good meate into an vncleane difh.
Aud. I am not a (lut, though I thanke the Goddes I
am foule. 35
26. hard fauour'd] Cowden-Clarke : These words show that Audrey was not
uncomely ; although she in her modesty, and Touchstone in his pleasantry, choose to
make her out to be plain. It is evident that the court-jester had the wit to perceive
something genuinely and intrinsically attractive about the girl, beneath her simple
looks and manner. Besides, she was an oddity, and that had charms for him. More-
over, she evidently idolises him ; which rivets him to her.
29. materiall] Johnson : A fool with matter in him ; a fool stocked with notions.
[Dyce adopts this.] Steevens: So in Chapman's version of the 24th Iliad: 'his
speech even charm'd his eares, So ordered, so materiall.' Halliwell : The Duke
has said of Jaques that he likes to meet with him when he is ' full of matter.'— II, i,
73. White (ed. i) : Does not the clown's apparent unwillingness to have his wife
both honest and beautiful make it clear that the cynical Jaques means to say that he
is materially— thoroughly, essentially a fool? [In his second edition White has
grown positive ; he no longer asks a question, but asserts that < a material fool is equiv-
alent to an absolute fool ; a fool in what is material or of essential importance.']
32. foule] The Cambridge Edition notes this 2a fatde in the Second Folio.
There is, therefore, a variation in the copies here ; mine reads as in the First Folio.
—Ed.
35. foule] Hanmer : By * foul * is meant coy qx frowning. Tyrwhitt: I rather
believe ' foul ' to be put for the rustic pronunciation oi fult, Audrey, supposing the
clown to have spoken of her as ' a foul slut,' says, naturally enough, * I am not a slut,
though, I thank the gods, I am foul^ i. e. full,^ RiTSON : Audrey says she is not
fair^ i. e. handsome, and therefore prajrs the gods to make her honest. The clown
tells her that to ' cast honesty away upon a foul slut ' (f . e, an Ul-favoured^ dirty crea-
ture) is to put meat in an unclean dish. She replies, she is no ' slut ' (no dirty drab)^
though in her great simplicity she thanks the gods for her foulness (homeliness), L e,
for being as she is. Mason : By *■ foul ' Audrey means not fair^ or what we call
honuly. Audrey is neither coy nor ill-humoured ; but she thanks God for her home-
liness, as it rendered her less exposed to temptation. So Rosalind says to Fhoebe,
III, ▼, 66 : < Foul is most foul, being foul, to be a scoffer.' Malone : I believe
Mason's interpretation to be the true one. So in Abrahan^s Scicrifice^ 1577 : < The
fayre, the fowle, the crooked, and the right' So also in Gascoigne's Steele Glasse :
* those that loue to see themselues How foule or fayre, soeuer they may be ' [p. 55,
ed. Arber]. Talbot : That ' foul ' retained the meaning in which it is used here as
low down as Pope, we find by the following lines in 7^ Wife of Bath : *■ If fair,
though chaste, she cannot long abide. By pressing youth attack'd on every side ; If
foul, her wealth the lusty lover lures.' Whiter (p. 55) : What can be more mani-
iS6 AS YOU LIKE IT [act ni, sc. iH.
Clo. Well,praifed be the Gods^ for thy foulneffe;flut- 36
tiflineffe may come heereafter. But be it, as it may bee,
I wil marrie thee : and to that end, I haue bin with Sir
Oliuer Mar-text^ the Vicar of the next village, who hath
promisM to meete me in this place of the Forreft, and to 40
couple vs.
laq. I would &ine fee this meeting.
Aud.VJAy the Gods giue vs ioy.
Clo. Amen. A man may if he were of a fearful heart,
dagger in this attempt : for heere wee haue no Temple 45
but the wood, no aflembly but home-beads. But what
44. may] might Coll. (MS). 44. were] weare F,.
fest than that the humour of the passage (such as it is) consists in the equivocal sense
of * foul/ which in our poet's time not only signified what it does at present, but
means likewise plain or homely ? Caldbcott : < Foul ' is used in opposition Unfair :
* If the maiden be fayre she is sone had, and litUe money geven with her : if she be
foule, they avaunce hir with a better portion.'— Thomas's Historie of Italye, 1 561, p.
83. [Schmidt gives between twenty and thirty instances of the use of * foul ' as
opposed to * fair,' and possibly his list is not complete. In the present passage the
jest's prosperity lies not alone in the ear of the hearer, but in the mouth of the
speaker, and in its double meaning. There is no humour nor thought of laughter
when Rosalind says of Silvins and Phoebe, ' He's fallen in love with her foulness.'
—Ed.]
36. foulnesse] Cowdbn-Clarkb : Judging by these jumbled axioms upon fiur-
ness, foulness, and slutdshness, Shake^)eare seems to have been looking into the
twelfth chapter of Florio's Second Frutes, where are strung together as many of
these trite sayings upon women's various qualities as Sancho Panza's irrelevant prov-
erbs. We believe that this work of Florio's was often in Shakespeare's hand ; for it
is curious to observe how many of the words and i^xrases therein he has adopted.
For instance, one of the scores of whimsical axioms in the above-mentioned twelfth
chapter is, < If fayre, she is sluttish ; if foule, she is prowd.'
38. with] Allen (MS) : Equivalent to j'ai 6t^ ehe»^ I went to the house ot
38. Sir] See notes on Dramatis Persona,
43. That more may be meant by this exclamation of Audrey than meets our mod-
em ears may be inferred, I think, from the foUowing passage in Lilly's Mother Bom-
He, where there is a dispute over the marriage of two young people : *Lucio, Faith
there was a bargaine during life, and the docke cried, God give them joy. Prisius.
Villaine! they be married! Halfepenie, Nay, I thinke not so. Sperantus. Yes,
yes ! God give you joy is a bmder I' — p. 138, ed. Fairiiolt To Audrey, therefore,
this exclamation may have meant the firm conclusion of the match, if not of the mar-
riage itself. — Ed.
46. home-beattt] This is one of the very many examples which Walker cites
(Crit. ii, 63) of the confusion, in the Folio, of final d and final /, a confusion which
arose ' in some instances, peihaps, from the juxtaposition <^ d and / in the composi-
tor's case ; but far oftener — as is evident firom the frequency of the erratum — ^from
ACT HI. sc. iii.] AS YOU LIKE IT 187
though? Courage. As homes are odious^ they are necef- 47
larie.It is (aid, many a man knowes no end of his goods;
right : Many a man has good Hornes^and knows no end
of them. Well, that is the dowrie of his wife, 'tis none 50
of his owne getting ; homes, euen fo poore men alone :
No, no, the nobleft Deere hath them as huge as the Raf- 52
51. homesy,,. alone :'\ Horns 9 even so Rile. Horns / never for poormen alone f
•"Poor men alone — Rowe, Pope. Horns f Sing. Horns f ever to poor men alone f
even so— poor men alone f — Theob. Han. Dyce. Horns ! Are horns given to poor
.Warb. Johns. Steer. Mai. Knt, Sta. Cam. men alone f Coll. iii. Horns are not for
KUy, Wh. ii (sub6.). Are hams given to poor men alone, Spedding [pp. Cam.
poor men alone f Coll. (MS) ii, Wh. i, Ed.).
something in the old method of writing the final / or </, and which those who are
▼ersed in Elizabethan MSS may perhaps be able to explain.' In a foot-note Lettsom
adds : *■ Walker's sagacity, in default of positive knowledge, has led him to the truth.
The e^ with the last upstroke prolonged and terminated with a loop, might be easily
mistaken for d. It is frequenUy found so written.' The many instances in which the
sense imperatively demands this correction, and in which the change firom eXa d and
from ^ to « is nuide in all modernized editions, ought to embolden us to make the
change here fix>m nonsense to sense, and instead of 'home-beasts,' write horned
beasts. — Ed.
46, 47. what though] Johnson : What then ? [Seeing that ' so,' < originally
meaning in that way^ is frequently inserted,' according to Abbott, J 65, < in replies
where we should omit it ' [e, g, • Trib. Repair to the Capitol. People, We will so*^^
Cor, II, iii, 262), so after < I think,' * if,' &c. ' so ' is sometimes omitted ; see Abbott,
§ 64. Thus here the full meaning of the phrase is < But what though it may be J0.']
51. homes, . . . alone] Collier (Notes &* Emend, p. 133) : It appears that are
had accidentally dropped out, and that for < euen so ' we ought to read given to, and
then Touchstone's question will be perfectly intelligible : 'Are horns giiMn to poor
men alone ?' ' No, no (replies Touchstone to his own interrogatory) : the noblest
deer,' &c. This emendation may have been obtained fkom some good authority.
Singer : I prefer, as a less violent innovation [than Theobald's text], to read, instead
of 'euen so,' never for ; which makes the passage intelligible and less incoherent.
White (ed. i) : Collier's (MS) furnishes the emendation which is more consistent
with the context than either [Theobald's or Singer's]. Dyce quotes Singer's text,
and adds *■ which I hardly understand.' Halliwell : The effect of this ruminating
is impaired by the violent alteration proposed by Collier's (MS). Staunton : We
adopt the ordinary punctuation of this hopeless passage, though with reluctance.
White (ed. ii) : Unsatisfactory as it is, this reading [Theobald's] is peihaps the best
diat can be made of the original.
52. Rascall] Caldecott : 'As one should hi reproch say to a poore man, thoii
raskall knaue, where rasiall is properly the huntera terme giuen to young deere, leane
and out of season, and not to people.' — Puttenham's Arte of English Poesie, 1589, p.
150. Again, ' The bucks and lusty stags amongst the rascals strew'd As sometimes
gallant spirits amongst the multitude.' — Drayton's Poly-olbion [Thirteenth Song, p.
304, ed. 1748]. Way (foot-note to Rasealyer^Prompi. Parv,) : Fabyan, under the
year 1456, speaks of ' a multitude of rascall and poore people of the cytye.' Certain
i88 AS YOU LIKE IT [act tii. sc. iiL
call : Is the fingle man therefore bleffed ? No, as a wall'd 53
Towne is more worthier then a village, fo is the fore-
head of a married man, more honourable then the bare 55
brow of a Batcheller : and by how much defence is bet-
ter then no skill, by fo much is a home more precious
then to want
Enter Sir Oliuer Mar-text.
Heere comes Sir Oliuer : Sir Oliuer Mar-text you are 60
wel met Will you difpatch vs heere vnder this tree, or
(hal we go with you to your Chappell ?
OL Is there none heere to giue the woman ?
Clo. I wil not take her on guift of any man.
01. Truly fhe muft be giuen, or the marriage is not 65
lawfull.
laq. Proceed, proceede : He giue her.
Clo. Good euen good My what ye cal't : how do you
Sir, you are verie well met : goddild you for your laft
companie, I am verie glad to fee you, euen a toy in hand 70
heere Sir : Nay, pray be couer'd.
lag. Wil you be married. Motley ? 72
54. more] Om. Pope. 69. goddild^godUdYl, God'ildThtx^^
68. Mr'\ M, Yl, Rowe. God ild Dyct.
cart"] ftfi7Roweii + .
ftnimalB, not accounted as beasts of chase, were likewise so termed. In the St Albans
Book it is stated that ' there be fine beasts which we cal beasts of the chace, the buke,
the doe, the foxe, the marteme, and the roe ; all other of what kinde soeuer terme
them Rascal!.* It appears, however, from the Mayster of Game, that the hart, until
he was six years old, was accounted * rascayle or foly.' — Vesp, B. xii, f. 25. In the
Survey of the Estates of Glastonbury Abbey, taken at the Dissolution, the deer in the
various parks are distinguished as ' deere of anntler ' and < deere of Rascall.'
53, 54. wall'd . . . village] Allen (MS) : A town has the defence of a wall ; a
village has none. Shakespeare has got fortification into his head. I wonder, there-
fore, whether he is not thinking of a *■ homwork ' as one work in a system of defences.
How early was the term used ?
56. defence] Steevens: < Defence,' as here opposed to *no skill,' signifies the
art of fencing. Thus, ' and gave you such a masterly report, for arts and exercise in
your defence.* — Hcrni. IV, vii, 98. Caldecott: Any means of defence is better
than a lack of science ; in proportion as something is to nothing. [Steevens's is the
better interpretation, I think. — Ed.]
69. goddild you] Steevens : That is, God yield you, God reward yon. So in
Ant. 6r* Chop, IV, ii, 33 : 'And the gods yield you for 't* [According to Skeat, the
original meaning of *■ yield ' is \xipay.'\
ACT III, sc. iii.] AS YOU LIKE IT 189
Clo. As the Oxe hath his bow fir, the horfe his curb, 73
and the Falcon her bels, fo man hath his defires, and as
Pigeons bill, fo wedlocke would be nibling. 75
laq. And wil you (being a man of your breeding)be
married vnder a bufli like a begger f Get you to church,
and haue a good Prieft that can tel you what marriage is,
this fellow wil but ioyne you together, as they ioyne
Wainfcot, then one of you wil proue a fhrunke pannell, 80
and like greene timber, warpe,warpe.
Clo, I am not in the minde, but I were better to bee
married of him then of another, for he is not like to mar-
rie me wel : and not being wel married, it wil be a good
excufe for me heereafter, to leaue my wife* 8$
73. bow] bough Cap. 74. defires] defire F^F^, Rowe+.
74. her bels] his bells Y^^, Rowe+. 8^-85. Aaidc. Cap.
73. bow] Capell : The wooden collar or yoke, that lyes across the neck of draft
oxen, and to which their traces are fastened, is call'd their bow; and this being the
spelling of the word in former editions, it has probably been the sense it was taken
in ; but a little attention to the true meaning of the other two similies, and to the
matter they are meant to illustrate, will show that we must seek for another interpre-
tation of bow : The faulcon is thought to take delight in her ' bells,' and to bear her
captivity the better for them ; * curbs * and their jingling appendages, add a spirit to
horses ; and if we interpret * bow ' to signify bough of a tree, the ox becomes a proper
similitude too, who, thus adom*d, moves with greater legerity : and the same effect
that these things have npon the several animals, * desires,' and their gratifications,
have upon men ; making them bear their burthens the better, and jog on to the end
of life's road. [Can perverted ingenuity further go ? Steevens said that the * bow '
was the yoke, and has been followed, I think, by every English editor except Halli-
well, who rightly defines it. The fact is, that the bow, and the yoke, in which the
bow is inserted, being two different things, cannot bear the same name; as well might
we say a horse's ^ is his bridle. — Ed.]
74. Falcon her] The gender here is properly feminine ; the male hawk was called
a tiercel, perhaps from its lesser size. See the notes on * tassel-gentle ' in Jiom. &•
Jul. II, ii, 159. Wright: Shakespeare once makes 'falcon' masculine in /!. o/L,
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.
82. not in the minde, but] Caldecott : That is, I am of no other opinion ot
inclination than, my mind is, that it were better to be married by him. [The fore-
going paraphrase is all the help that is offered to us on this somewhat puzzling con-
struction, which is, I think, intelligible only on the principle of two negations making
an afHrmative. Touchstone was not in the mind that it were not better, and therefore
he was in the mind that it was. For the phrase ' I were better,' see Abbott, §§ 352
and 230, where we find that in this and similar expressions, like * You were best,'
' Thou wert better,' &c., /, Th4m, and You originally datives, were changed to nomi-
natives. — Ed.]
190 AS YOU LIKE IT [act hi, sc. iii.
lag. Goe thou with mee, 86
And let me counfel thee.
01. Come fweete Audrey^
We muft be married, or we muft Hue in baudrey :
Farewel good M^ Oliuer : Not O fweet Oliuer^ O braue ' 90
86, 87. One line, Pope et seq. 90, 91. Not, ..But"] Included in the
^, 01.] F,. verse, Cap. Excluded from the verse,
88, 89. Prose, Pope-f. Mai. et seq. (subs.).
90. Mr"] M, Ff. .Sir Theob. ii, Warb. 90-^2. Not.,.tkee\ Six lines of veise,
Johns. Cap. et seq.
90, &c. Not O sweet Oliuer, &c.] Capell : These words have no appearance
of a ballad as [Warburton] has fancy' d ; but rather of a line in some play, that per-
haps might run thus, ' O my sweet Oliver, leave me not behind thee ' ; which this wag
of a clown puts into another sort of metre, to make sport with sir Oliver, telling him :
* I'll not say to you, as the play has it, " O sweet Oliver, | O brave Oliver, | Leave me
not behind thee " ; but I say to you, << wind away," ' &c., continuing his speech in the
same metre. In this light the passage is truly humorous ; but may be much height-
en'd by a certain droleness in speaking the words, and by dancing about sir Oliver
with a harlequin gesture and action. [The world cannot afford to lose the flash of
histrionic genius with which Capell illumines this passage. — Ed.] Johnson : Of this
speech, as it now appears, I can make nothing, and think nothing can be made. In
the same breath he calls his mistress to be married, and sends away the man that
should marry them. Warburton has very happily observed that ' O sweet Oliver ' is a
quotation from an old song ; I believe there are two quotations put in opposition to
each other. For ' wind ' I read wend, the old word iot ge. Perhaps the whole pas*
sage may be regulated thus : *Jaqu€S. Go thou with me, and let me counsel thee.
[They whisper."] Clown. Farewell, good sir Oliver, not O sweet Oliver^ O brave
Oliver^ lea'ue me not behind theef^hoi — fVend Aynjf — Begone, I say, — I will not to
wedding with thee to-day.' Of this conjecture die reader may take as much as shall
appear necessary to the sense or conducive to the humour. Tyrwhitt : The epithet
* sweet ' seems to have been peculiarly appropriated to * Oliver,' for which, perhaps, he
was originally obliged to the old song before us. See Jonson's Underwoods : *A11 the
mad Rolands and sweet Olivers.' — [LXII, p. 417, ed. Gifford.] Steevens : < O brave
Oliver, leave me not behind you ' is a quotation at the beginning of one of Breton's
Lettera in his Poste with a Packet of Mad Letters^ x6oo [vol. ii, p. 34, ed. Gro-
sart]. In the Stationers' Registera, Aug. 6, 1584, was entered by Ridiard Jones,
the ballad of <0 swete Olyuer, Leave me not behind the.' Again [on the 20th
of August], <The answeare of O sweete Ol3ruer.' Again [on Aug. 1st] in 1586,
*0 swete Olyver, altered to ye scriptures.* — [vol. ii, pp. 434, 435, 451, ed. Arber].
Farmer : I often find a part of this song applied to Cromwell. In a paper called A
Man in the Moon, Discovering' a World of Knavery under the Snn, * ihe/uncto wiH
go near to give us the baggage^ if O brave Oliver come not suddenly to relieve them.'
The same allusion is met with in Cleveland. < Wind away ' and wind off are still
ViS^^ provincially ; and, I believe, nothing but the /r^rvtiffiaii/ pronunciation is wanting
to join the parts together. I read : * Leave me not behi* thee — But — ^wind away-—
Begone, I say, — I will not to wedding tw' thee.^ Steevens: 'Wind* is used for
wend in Qssar and Pompey, 1607 : * Winde we then, Antony, with this royal queen.'
ACT III, 8C. iv.] AS YOU LIKE IT 191
OUuer leaue me not behind thee : But winde away, bee 91
gone I fay, I wil not to wedding with thee.
01. 'Tis no matter ; Ne're a feuitaftical knaue of them
all fhal flout me out of my callmg. Exeunt 94
Scoena Quarta.
Enter Ro/alind& Celia.
Rof. Neuer talke to me, I wil weepe.
CeL Do I prethee, but yet haue the grace to confider^
that teares do not become a man.
Rof. But haue I not caufe to weepe f 5
Cel. As good caufe as one would defire,
Therefore weepe.
Rof. His very haire
Is of the diflfembling colour. 9
91. behmdtkie] keki* tket Steer. ^ 92. Exeunt Jaqnet, Qown, and An-
hmd tkee, pr'ythee ! Ktlj. drey. Cap.
wi$ule\ wend ^ad%. Coll. (MS) si, 94. Exennt] Exit Cap.
iii, Qke, Huda. Scene X. Fq)e+.
92. wUh thee\ wi* thee Steev. bmd A Cottage in the Forest. Theob.
thee Coll. (MS) ii, iii. 6-16. Prose, Pope et seq.
9. thi\ a Rowe ii, Pope, Han.
Collier {Neies, &c., p. 133) : All printed editions have missed the rhyme in the last
line of the fragment of the ballad, * O sweet OliTer.' Perhaps it was only the extem-
poral invention of Touchstone, but it is thus given by the MS corrector of the Folio,
1632: *Bttt wend away; begone I say, I will not to wedding kind thee.' Dyce:
But there is no reason to suppose that a rhyme in the last line was intended by Shake-
speare ; for it would seem that Touchstone is citing two distinct portions of the ballad.
Nor can we doubt that * wind away ' was the reading of the old ditty ; compare TTU
History of Pyramus and ThisHe : * That doone, oztMiy hee ttnndeSf as fier of hell or
Vulcan's thunder/ &c. — 7%g Gorgiom Gallery of Gallant Inventions^ 157^, p. 171,
reprint. * Wind ' is an early form of wend, [In both his first and second editions
Collier refers to his Introduction to Afid, N, />., where a stanza of Robin Goodfelhw
is given, in which < wind ' is used for wend. This particular copy of the ballad, how-
ever, was in a MS of the time, and the stanza does not appear in Percy's Reliques^
1765, although the word *wend' does appear there in line no. — ^Ed.]
1-16. These lines, with their division into apparent verse, are an indication, I
think, of the piecemeal printing of the Folio. They are the last lines on the page,
at the foot of the column. The compositor to whom this portion was intrusted was
apparently anxious to complete his stint with a full page, and, indeed, was perhaps
forced to do so, that there might be no gap between his share and his nei^bor*s, and
so spread out the text by thus dividing the lines.— Ed.
192 AS YOU LIKE IT [act hi. sc. iv.
CeL Something browner then ludaffes : 10
Marrie his kiffes are ludaffes owne children.
Rof. Ffaith his haire is of a good colour.
CeL An excellent colour :
Your Cheffenut was euer the onely colour :
iE^And his kiffing is as ful of fanftitie, 15
As the touch of holy bread.
10, II. /iw/i^«] F,. Judas' s¥^^. 16. ^^«/]^^a«/Theob.Warb. Johns.
16. the] F,. Cap.
9. dissembling colour] Hunter (i, 349) : That certain colours of the hair were
supposed to indicate particular dispositions was an opinion of the time, as may be
seen at large in The Shepherd's Calendar, not Spenser's beautiful poem so entitled,
but the medley of moral and natural philosophy, of verse and prose, which, under
that title, was a favourite book of the common people in the reigns of the Tudors. < A
man that hath black hair,' we are told, ' and a red beard, signifies to be letcherous,
disloyal, a vaunter, and one ought not to trust him.' Halliwell : ' Hair of the
colour of gold denotes a treacherous person, having a good understanding, but mis-
chievous ; red hair, enclining to black, signifies a deceitful and malicious person.'—
Saunders, Physiognomie and Chiromancie, 1 67 1, p. 1 89.
10. ludasses] Steevens : Judas was constantly represented in ancient painting
or tapestry with red hair and beard. Tollet : The new edition of Leland's Collec-
tanea, vol. v, p. 295, asserts that < painters constantly represented Judas, the traytor,
with a red head.' Dr Rot's Oxfordshirey p. 153, says the same: 'This conceit is
thought to have arisen in England, from our ancient grudge to the red-haired Danes.'
Nares : The current opinion that Judas had red hair arose from no better reason than
that the colour was thought ugly. Thiers in his Histoire des PemtqueSy p. 22, gives
this as one of the reasons for wearing wigs : ' Les rousseaux pottdrent des pemiques,
pour cacher la couleur de leurs cheveux, qui sont en horreur k tout le monde, parce
que Judas, & ce qu'on pretend, etoit rousseau.' Dryden, in Amboyna, has, ' there's
treachery in that Judas-colour'd beard,' and in a fit of anger he described Jacob Ton-
son, ' with two left legs, and Judas-coloured hair.' As Tonson is in the same attack
described as * freckled fair,' there can be no doubt that Judas's hair was always sup-
posed to be red. A red beard was considered as an infallible token of a vile dispo-
sition.
15. Walker (Crii. iii, 94) would let Celia interrupt this speech, thus: *Ros, And
his kissing — CeL Is as fidl of sanctity as,' &c., and it is not to be denied that it is
quite in the spirit of the rest of the dialogue, but — ^it is improving Shakespeare, or
rather, it is improving the plain, unsophisticated text, which should not be. — ^Ed.
16. holy bread] Warburton : We should read beard, that is, the kiss of an holy
saint or hermit, called the kiss of charity. This makes the comparison just and
decent ; the other impious and absurd. Collier : * Holy bread,' as the Rev. Mr
Barry observes to me, * is sacramental bread ' ; and he adds that * pax-bread ' is ren-
dered by Coles /tf»w osculandus. Barron Field {Sh. Soc. Papers, vol. iii, p. 133) :
It is strange that these reverend gentlemen should have been so ill-read in Church
History as not to know what * holy bread ' was. Sacramental bread, in those times,
would have been called a great deal more than holy bread, and would never have
ACT III, 8C. iv.] AS YOU LIKE IT 193
CeL Hee hath bought a paire of caft h'ps of Diana : a 17
Nun of winters fifterhood kiffes not more religiouflie,
the very yce of chaftity is in them. 19
17. cafi[\ ckaft Yi, chaste Rowe, Pope, Huds. ccuts Mai. (misprint?).
been profaned bf Shakespeare. Rosalind is guilty of no impiety. *■ Holy bread ' was
merely one of the < ceremonies' which Henry VHIth's Articles of Religion pro-
nounced good and lawful, having mystical significations in them. * Such/ he says,
* were the vestments in the worship of God, sprinkling holy water .... giving holy
breads in sign of our union to Christ,' &c. Another of these Articles declared that in
the sacrament at the Altar, under the form of bread and wine, there was truly and
substantially the body of Christ. Wright : Tyndale in his Obedience of a Christian
Man (Doctrinal Treatises, p. 284, Parker Society ed.), says : * For no man by sprink«
ling himself with holy water, and with eating holy bread, is more merciful than
before,' &c. [Do we ever stop to think how either Rosalind or Celia could have
known anything of Orlando's kisses ? Rosalind, as Rosalind, had met him but once^
after the wrestling, and it is unlikely, indeed scarcely thinkable, that Orlando should
have kissed Ganjrmede, and yet Celia's allusion to ' the very ice of chastity ' seems to
imply that she spoke either from experience or as a witness. In a subsequent scene,
where Ganymede and Orlando are talking of kisses, they would surely have kissed
then had they ever kissed before. Perhaps Rosalind is thinking here only how pure»
of necessity, must be the kisses of such a man as Orlando, and the kisses to which
she now refers are of ' those by hopeless fancy feigned on lips that are for others.'
But, after all, we are in the forest of Arden, and this is but a part of Shakespeare's
glamour, into which it is sacrilege to pry too curiously.— Ed.]
17. cast] Theobald: That is, a pair left off hy Diana. Wright: Compare y^rr,
xxxviii, II : <okl cast clouts and rotten rags.' [Again, 'Tis state .... to have ao
.... usher march before you .... in a tuftafata jerkin Made of your old cast gown.'
-^Ram Alleyy IV, i. We have retained the word to this day, having added merely
0^.-^Ed.] Douce (i, 303) : It is not easy to conceive how the goddess could leave
offhtr lips ; or how, beinc; left off, Orlando could purchase them. Celia seems rather
to allude to a statue r<u/ in plaister or metaly the lips of which might well be said to
possess the ice of chastity. [HalliwcU adopted this note by Douce, and even added
to it the suggestion by one who prudently remained *■ Anonymous,' that * it would be
more correct to say that it [jiV] is to a pair of lips cast for a statue, as that kind of
workmanship is commonly executed in detached parts.' It was a note of Douce't
similar to the above, though not quite so far fet, that elicited from Dyce the assertion
that * except those explanatory of customs, dress, &c. the notes of Douce are nearly
worthless.' — Remarksy p. 96. And here let me record my respectful, but unflinch-
ing, protest against the interpretation of * cast,' in the sense of cast 4^, as it is given
in modem editions. The idea that Celia, whose references to Or)ando's kisses have
been thus far, to say the least, dainty and refined, should be here represented as saying
that he had bought a pair of worn-out, second-hand, old-cld lips, is to me worse^ than
absurd ; it is abhorrent. < Cast ' is here either the mere phonetic spelling of chaste^
which from the Latin castus retained, it is not unlikely, the hard sound of ^, or it is a
downright misprint for chast or chaste, which the editor of the Second Folio quickly
corrected. Moreover, an allusion to her chastity is almost inseparable from Diana;
this, of itself, would almost justify us in making the change.— Ed.]
»3
194 AS YOU LIKE IT [act hi, sc iv.
Ro/a. But why did hee fweare hee would come this 20
morning, and comes not/
Cel. Nay certainly there is no truth in him.
Rof. Doe you thinke fo ?
Cel. Yes, I thinke he is not a picke purfe, nor a horfe-
ftealer, but for his verity in loue, I doe thinke him as 25
concaue as a couered goblet, or a Worme-eaten nut
Rof. Not true in loue ?
CeL Yes, when he is in, but I thinke he is not in.
Rof. You haue heard him fweare downright he was.
CeL Was, is not is : befides, the oath of Louer is no 30
ftronger then the word of a Tapfter, they are both the
confirmer of falfe reckonings, he attends here in the for-
reft on the Duke your father. 33
20. why^wyY^. 32. confirmer] canfirmers Pope+,
30. Louer"] a Lover Ff, Rowe+, Cap. Cap. Mai. Stecv. Coll. Sta. Qke, Dycc iii,
Steev. Var. *2I et seq. Huds.
18. winters] Theobald : It seems to me more probable that the Poet wrote : < a
nmi of Winifred^ s sisterhood.' Not, indeed, that there was any real religious Order of
that Denomination, but the legend of St Winifred [as given in Camden's Britannia]
tells how she suffered death for her chastity. [Warburton, after a vigorous sneer at
Theobald, in the course of which he denied that there was any sisterhood of St Wini-
fred, which Theobald had never affirmed, proceeded to apportion the year, to his own
satisfaction and without the smallest classical authority, among the heathen goddesses,
winding up with the assertion that * the sisterhood of winter were the votaries of Diana.'
In his long note there is only one sentence worth heeding or remembering : ' Shake-
speare meant an unfruitful sisterhood which had devoted itself to chastity.' To this
add a remark by Douce, which even Dyce adopts, that < Shakespeare poetically feigns
a new order of nuns most appropriate to his st^ject,' and the passage has received all
requisite attention, except, perhaps, that Steevens notes ' one circumstance in which
[Warburton] is mistaken. T^e Golden Legend, p. ccci, &c., gives a full account of St
Winifred and her sisterhood. — ^W3mkyn de Worde, 1527.' — Ed.]
22. Cowden-Clarke : Nothing can exceed the sweetness of the touches whereby
Shakespeare has painted the character of Celia. In three several scenes she appears
comforting her sprightly cousin in the April tears she sheds, and pretty poutings she
gives way to, ever petting, humouring, loving, and ministering to Rosalind. Here,
her irony of banter, her praising under guise of disparaging, her affecting to blame
the man her cousin loves, that her cousin may have an opportunity of defending and
eulogising him, are all in the highest taste and most perfect knowledge of womanly
nature.
26. couered] Warburton : A goblet is never kept * covered * but when empty.
M. Mason : It is the idea of hollowness, not that of emptiness, that Shakespeare
wishes to convey; and a goblet is more completely hollow when covered than when
it is not.
ACT III. sc. iv.] AS YOU LIKE IT 195
Rof. I met the Duke yefterday, and had much que-
ftion with him : he askt me of what parentage I was ; I 35
told him of as good as he, fo he laugh'd and let mee goe.
But what talke wee of Fathers, when there is fuch a man
as Orlando?
Cel. O that^s a braue man, hee writes braue verfes,
fpeakes braue words, fweares braue oathes, and breakes 40
them brauely, quite trauers athwart the heart of his lo-
34. Hartley Coleridge (ii, 140) : Roealind is not a very dutiful daughter, but
her neglecting so long to make herself known to her father, though not quite proper,
is natural enough. She cannot but be aware that in her disguise she is acting a peril-
ous and not very delicate part, which yet is so delightful that she cannot prevail on
herself to forego it, as her father would certainly have commanded her to do. Noth-
ing is more common than for children to evade the sin of flat disobedience by decep-
tion and concealment. Jennie Deans, a stricter moralist than Rosalind, set out on
her pious pilgrimage without consulting her father, because she could expect no bless-
ing if she had incurred his express prohibition. This, to be sure, was a practical
sophism ; but no Jesuit*s head is so full of sophistry as a woman's heart under the
influence of strong affection. Yet Rosalind might, at any rate, have shown more
interest in her father's fortunes.
34* 35* question] Steevens : That is, conversation. See III, il, 360, or V, iv,
165, or Schmidt.
37. what] For other examples of < what ' used for why^ see Abbott, § 253.
37, 38. man as Orlando] Lady Martin (p. 423) : What a world of passionate
emotion is concentrated in that last sentence, and how important it is to bear this in
mind in the subsequent scenes with Orlando!
41. trauers] Warburton : As breaking a lance against his adversary*s breast, in
a direct line, was honorable, so the breaking it across his breast was, as a mark either
of want of courage or address, dishonorable ; hence it is that Sidney, describing the
mock combat of Clinias and Dametas, says : < The wind tooke such hold of his stafFe,
that it crost quite ouer his breast [and in that sort gaue a flat bastonado to Dametas.'
— Arcadia^ III, p. 2S4, ed. 1598]. To break across was the usual phrase, as appears
from some verses of the same author, speaking of an unskilful tilter : * For when he
most did hit, he ever yet did miss. One said he brake across, full well it so might be.'
[It is to be feared that Warburton did not read his Arcadia with needful attention, or
be would have seen that his quotation affords a most meagre illustration of the present
passage, if indeed it afford any at all. Qinias's staff crossed over, not his adversary's
breast, but his own, and, moreover, we are expressly told a few lines further on that
it was not broken. It would not have been worth while to notice this, were it not
that several editors have followed Warburton and adopted his note without verifica-
tion. — Ed.] Steevens : So in Northward Ho^ 1607 : * melancholie like a tilter, that
had broke his staves foul before his mistress.' — [III, i, p. 189, ed. Dyce]. Nares
calls attention to the skilful manner in which the author of Ivanhoe has introduced
this circumstance into his tournament. [* The antagonist of Grantmesnil, instead of
bearing his lance-point fair against the crest or shield of his enemy, swerved so much
from the direct line as to break the weapon athwart the person of his opponent, a
circumstance which was accounted more disgraceful than that of being actually
196 AS YOU LIKE IT [act hi. sc. iv.
uer, as a puifny Tilter, y fpurs his horfe but on one fide, 42
breakes his ftaffe like a noble goofe ; but all's braue that
youth mounts, and folly guides : who comes heere ?
Enter Corin. 45
Corin. Miftreffe and Mafter, you haue oft enquired
42. pui/ny] puny Cap. 43. noble] n^e-quilled Ilan. notable
y\ that Ff. Sing. Ktly.
on"] Om. Pope, Theob. Warb. 44. keere"] heete F,.
Johns.
unhorsed ; because the latter might happen from accident, whereas the farmer evinced
awkwardness and want of management of the weapon and the horse.' — Ivanhoe^
chap, viii.]
41, 42. louer] Malone : That is, of his mistress. * Lover ' was applied to both
men and women. Compare A Lover's Complaint^ where the * lover ' is a despairing
maiden. So Meas.for Meas. : * Your brother and his lover have embraced/ I, iv, 40.
42. puitny] Cam. Ed. : Here used not in the modem sense of diminutivey but in
the now obsolete sense of inferior^ umskiUed. Wright : Cotgrave has * Puisn6. Punie,
younger, borne after.'
42, 44. spurs . . . guides] Again, there is a variation in copies of the Second
Folio (see line 32 of the preceding scene). The Cam. Ed. records as the spelling
of these two words in that Folio : spumes and guider. In my copy they are spurres
and guides. Again, a similar variation occurs in * drops ' of line 8 in the next scene,
which in the Cambridge Editors' copy of F, is props ; in mine it is not misspelled.
Therefore, the proof is conclusive that the copy of the Cam. Ed. is an earlier impres-
sion than mine, and as all four of these exrorSf/aule, spurrus^ guider ^ tJiAprops^ occur oa
two pages facing each other, it is likely that they were all corrected at the same time,
and their number was a sufficient cause to stop the work of striking off and to unlock
the forms, ffae fahula docet how remote from Shakespeare's hand the text of the
Folios is, and how careful we should be not to place too much reliance on collation.
—Ed.
43. noble] For this word Hanmer actually substituted in the text nose-quilled;
* but,' says Farmer, with nalvet6, < no one seems to have regarded the alteration.'
Whereupon he proceeds to ' regard * it seriously, and adds : ' Certainly nose-quilled is
an epithet likely to be corrupted ; it gives the image wanted, and may in a great
measure be supported by a quotation from Turberville's Falconrie : ^ Take with you a
ducJke, and slip one of her wing-feathers^ and having thrust it through her nares^
throw her out unto your hawke." ' Steevens too backs up Fanner with a citation
from Philaster: < He shall .... be seel'd up With a feather through his nose, that,'
&c.— [V, iv, p. 298, ed. Dyce. However much such a tampering with the text of
Shakespeare, by exsufHicate and blown surmises, invites flippancy and excuses disre-
spect, the temptation must be resisted to couple for the nonce in the same sentence the
name of Sir Thomas Hanmer and a 'noble goose.'— Ed.] Caldecott: By the
phrase ' noble goose ' is perhaps meant a magnanimous simpleton of an adventurer.
Singer : I do not hesitate to read < notable goose ' instead of ' noble.' The epithet
is often used by the poet. Keightley : Singer, very unnecessarily and most tamely,
reads n<ftable. Printing fhnn his edition, I have heedlessly followed him in mine.
ACT ni, sc. v.J AS YOU UKE IT I97
After the Shepheard that complainM of loue, 47
Who you (aw fitting by me on the Turph,
Fraifing the proud difdainfull ShepherdeiTe
That was his Miflreffe. 50
CeL Well : and what of him ?
Cor. If you will fee a pageant truely plaid
Betweene the pale complexion of true Loue,
And the red glowe of fcome and prowd difdaine^
Goe hence a little^ and I fliall condu£l you 55
If you will marke it
Rof. O come, let vs remoue,
The fight of Louers feedeth thofe in loue :
Bring vs to this fight, and you (hall (ay
He proue a bufie a£lor in their play. Exeunt. 60
Scena Quinta.
Enter Siluius and Phebe.
Sil. Sweet Phebe doe not fcome me, do not Phebe
Say that you loue me not, but fay not fo
In bitteme(re ; the common executioner 4
48. Who] Whom Ff, Rowe+, Ci^. us to see Jervis, Dyce iii, Coll. iii, Huds.
Huds. Rife.
55. and'] as Allen conj. 60. He] /Dyce conj.
59. Bring vs to] Bring us M to Scene XI. Pq)e+.
Popc-f. Come, Mng us to Cap. Bring [Changes to another part of the
us unto Mai. Steer. Cald. Ktly. Bring Forest. Theob.
2. not Phebe] not, Phebe, F^F^.
47. that] Abbott, % a6o : Since that introduces an essential characteristic without
which the description is not complete, it follows, that, eren where this distinction is
not marked, that comes generally nearer to the antecedent than who or which, [As
to * who ' for whom in the next line, see Shakespeare, j^assim, or Abbott, $ 274. See
also the same sequence, < that ' followed by * who,' in lines 14, 1 5 of the next Scene.]
52. pageant] Whiter (p. 56): The < pageant* of hue seems to have been
impressed on the mind of our poet. So in Mid. N. D, III, ii, 112, Puck speaks of
< the youth, mistook by me, Pleading for a iovev*s fee. Shall we their fond pageant
Beer
59. vs to] Jervis (p. 12) : Read ; ' Bring us to see,* &c. Compare < To see this
sight, it irks my very soul.' — j Hen. VI: II, H.
4. Even this line Abbott ($ 494) will not ootmteiMiice as an Alesaadrine) be layi
198 AS YOU LIKE IT [act hi, sc. v.
Whofe heart th'accuftomM fight of death makes hard S
Falls not the axe vpon the humbled neck,
But firft begs pardon : will you ftemer be
Then he that dies and Hues by bloody drops ? 8
8. dies and iiues by] deals and lives by^ Cap. lives and dies by Coll. conj.
by Theob. lives and thrives by Han. Ktly. sheds and lives by Ktly conj.
deals^ and lives by, Warb. eyes, and lives daily lives by Heath.
that in the last foot one of the two extra syllables is slurred : * In bft | temdss. | The
c<5m I mon ^x | tc6lioner.* To my ear the remedy is worse than the disease. — Ed.
6. Falls] For many instances of the conversion of intransitive into transitive verbs
see Abbott, § 291 ; also the same, § 120, for the use of ' But ' in the next line, in the
sense of $xcept or without. Douce (i, 303) : There is no doubt that the expression
' to fall the axe ' may with propriety refer to the usual mode of decapitation ; but if it
could be shown that in the reign of Elizabeth this punishment was inflicted in Eng-
land by an instrument resembling the French guillotine, the expression would perhaps
seem even more appropriate. Among the cuts to the first edition of Holinshed's
Chronicle such a machine is twice introduced. [Douce hereupon shows that the
so-called ' Halifax Gibbet ' and * the Maiden ' in Scotland were quite similar instru-
ments, and from a contemporary MS account in his possession of the execution of
Morton for the murder of Damley, where it is said he < layde his head under the axe*
there can be no doubt of the fact that such a mode of beheading was practised.
Haydn {Diet, of Dates) says that the ' Halifax Gibbet ' was used as late as 1650.]
8. dies and Hues] Warburton : The executioner lives, indeed, by bloody drops,
if you will ; but how does he die by bloody drops ? The poet must certainly have
wrote ' deals and lives,' &c. Johnson : I should rather read : < he that dyes his lips
by bloody drops.' Will you speak with more sternness than the executioner, whose
lips are used to be sprinkled with blood ? Steevens : I am afraid our bard is at his
quibbles again. To die means as well to dip a thing in a colour foreign to its own, as
to expire. In this sense, contemptible as it is, the executioner may be said Xo die zs
well as live by bloody drops. Shakespeare is fond of opposing these terms to each
other. TOLLET : That is, he who, to the very end of his life, continues a common
executioner ; as in V, ii : * live and die a shepherd.' Musgrave : To die and live by
a thing is to be constant to it, to persevere in it to the end. Lives, therefore, does not
signify is maintained, but the two verbs taken together mean who is conversant all his
life with bloody drops. Capell [see Text. Notes] : That is, is accustomed to look
upon blood, and gets his livelihood by it. That this is the sense of the line, and eyes
the true correction of the printer's word ' dies,' will want no proving to him who but
considers it's nearness, and gives another perusal to the third line before it Cal-
DECOTT : Who by bloodshed makes to die or causes death ; and by such death-doing
makes his living or subsists— who by the means he uses to cut off life, carves out to
himself the means of living. Compare the epitaph on Burton : < Cui Vitam pariter et
Mortem Dedit Melancholia.' Collier {Notes, &c., p. 134) : The MS corrector for
< dies ' substitutes kills. Can dines have been the true word ? Arrowsmith {Notes
&* Qu. 1st Ser. vol. vii, p. 542) : This hysteron proteron is by no means uncommon :
its meaning is, of course, the same as live and die, i. e. subsist from the cradle to the
grave. All manner of whimsical and farfetched constructions have been put by the
conmientators upon this very homely sentence. As long as the question was whether
ACT III, sc. v.] AS YOU LIKE IT 199
Enter Ro/alindy Celiuy and Corin.
Phe. I would not be thy executioner, 10
I flye thee, for I would not iniure thee :
Thou tellft me there is murder in mine eye,
'Tis pretty fure,and very probable^
That eyes that are the frailft, and fofteft things.
Who (hut their coward gates on atomyes, 15
Should be called tyrants, butchers, murtherers.
Now I doe frowne on thee with all my heart.
And if mine eyes can wound, now let them kill thee:
Now counterfeit to fwound, why now fell downe, 19
«
9. Enter...] Enter Celia and Rosa- 12. eye\ eyes 'Kom^-^r .
lind, at a distance, Corin leading them. 13. pretty fure^ Ff, Rowe, Pope.
Cap. Enter... Corin, behind. Coll. P^f^i sure^ Theob. et seq.
12. murder] murther Ff, Rowe, Pope, 1 9. /wound'] swoon Pope.
Theob. Han. Warb. Wh. i.
their wits should have license to go a- woolgathering or no, one could feel no great con*
cem to interfere ; but it appears high time to come to Shakespeare's rescue when Col-
lier's ' clever ' old commentator, with some little variation in the letters, and not much
less in the sense, reads kills for ' dies.* Compare * With sorrow they both die and live
That unto richesse her hertes geve.* — The Romaunt of the Rose^ v. 5789. * He is a
foole, and so shall he dye and Hue, That thinketh him wise, and yet can he nothing.'
— Barclay's Ship of Fooles^ I570> fol. 67. * Behold how ready we are, how willingly
the women of Sparta will die and live with their husbands.' — The Pilgrimage of
Kings and Princes ^ p. 29. [Until this conclusive note appeared, Dyce (/Jsw Notes,
p. 68) was inclined to agree with Steevens's * quibble.' Halliwell repeats Arrow-
smith's note, and to the examples there given adds one which, as he says, is somewhat
different : * I live and die, I die and live, in languor I consume.' — Achelley's Lament-
able and Tragicall Historie, &c., 1576. Ingleby {The Still Lion, p. 59) adopts Dr
Sebastian Evans's paraphrase of the present passage, as meaning * a man's profession
or calling, by which he lives, and failing which he dies,' where the felicitousness of
the phrase blinds us to the fact that it does not explain the curious inversion of dying
and living. — Ed.]
II. for] That is, because.
13. pretty sure] Note the almost comic turn which the omission of the comma
gives this phrase. Of course, as Douce points out, 'sure ' is here surely. — Ed.
14. That] See line 47 of the preceding scene ; and for < who,' in the next line,
see Abbott, § 264, where examples may be found of < who personifying irrational ante-
cedents.'
18. And if] This \& anif according to Abbott, § 103.
19. swound] The pronunciation of this word also was in a transition state when
the Folio was printing. In IV, iii, 166 it is spelled ' swoon, and in V, ii, 29 it appears
in its homely garb ' sound,' which, I think, must have been its common pronunciation
for many a long day. The Nurse in Rom. ^ Jul. Ill, ii, 56 says : 'All in gore blood :
I sounded at the sight ;' where < sounded ' may possibly have been pronounced soonded;
30O AS YOU LIKE IT [act in. sc. v
Or if thou canft not, oh for fliame, for fhame, 20
Lye not, to fay mine eyes are murtherers :
Now fliew the wound mine eye hath made in thee,
Scratch thee but with a pin, and there remaines
Some fcarre of it : Leane vpon a rufli
The Cicatrice and capable impreffure 25
22. eye hath'\ eyes hath Rowe il, Steev. Ktly, Dyce iii, Rife, Wh. ii. Lean thee
'85. eyes have Pope + . Jervia.
24. Leane'\ Leane but Yi^ Rowe + , 25. ra/a^/r] /o^^/f Sing. Coll. (MS)
Cap. Steev. Mai. Coll. Sing. Cam. Clke, ii, Ktly.
at least, no w was pronounced, whatever may have been the sound of the ou. Cer-
tain it is that * sound ' rhymed with fottnd in Scottish poetry, where again the latter
word may have been pronoimced foond. It is simply noteworthy that the soimd of
the w is sometimes present and sometimes lacking, and that, when lacking, it is by
no means a mark of vulgarity, as we might, perhaps, infer from its use by Juliet's
Nurse ; < sound ' from Rosalind's lips could not but be refined. Cf. an old ballad of
The Wofull Death of Queene Jane, wife to King Henry the Eighty and haw King
Edward was cut out of his mother : * She wept and she waild till she fell in a swoond.
They opend her two sides, and the baby was found.' — Child's English and Scottish
Popular Balkuis, Part vi, p. 373. We do not now pronounce the w in anstver, nor
commonly in sword, although my fitther sa3rs that in his childhood, more than eighty
years ago, in New England, he was always taught t6 pronounce the w in the latter
word, and I have heard Edward Everett pronounce it. Many, very many instances
could be given of sound in the old dramatists. Malone went so far as to say that it
was always so written, or else swound; the example * swoon ' in the present play shows
that his remark was too general, and that the pronunciation was, as I have said, in a
transition state. — Ed.
19. why now] I think a comma should be placed after ' now,' not after < why,*
where it is generally put
21. Lye not, to say] Allen (MS) : That is, lie not to such an extent as to say.
24. Leane] As Wright says, htt is added in the Second Folio 'perhaps unneces-
sarily, as broken lines are defective in metre ' ; at the same time, it keeps up the con-
struction, < scratch thee but with a pin.' — Ed.
25. Cicatrice] Johnson : Here not very properly used ; it is the scar of a wound.
[Here it is simply, as Dyce defines it, the mark.] Staunton : The only difficulty
in the line is this word, which certainly appears here to be used in an exceptional
sense.
25. capable impressure] Johnson : That is, hollow mark. Malone : < Capable,'
I believe, here XDJtviA perceptible. Our author often uses the word for intelligent. So
in Ham. HI, iv, 126: 'His form and cause conjoin'd, preaching to stones. Would
make them capable.' Singer : It is evident we should read palpable. For no one
can surely be satisfied with the strained explanations offered by Johnson and Malone.
Collier: Palpable is the correction of the (MS). Blackwood's Magazine:
* Capable impressure ' means an indentation in the p>alm of the hand sufficiently deep
to contain something within it White : < Capable ' is used here in a peculiarly and
unmistakeably Shakespearian manner for receivable. Yet it has been proposed to
xtaA palpable. The change is one of a kind that commends itself to the approval of
ACT III, sc. v.] AS YOU LIKE IT aoFi
Thy palme fome moment keepes : but now mine eyes 36
Which I haue darted at thee, hurt thee not,
Nor I am fure there is no force in eyes
That can doe hurt.
Sil. O deere Phebe, 30
If euer (as that euer may be neere)
You meet in fome frefli cheeke the power of ^ncie.
Then fhall you know the wouuds inuifible
That Loues keene arrows make.
Phe. But till that time 35
Come not thou neere me : and when that time comes,
Afflift me with thy mockes, pitty me not,
As till that time I fliall not pitty thee.
Rof. And why I pray youPwho might be your mother 39
28. Nor\ Now Quincy (MS). And 31. neere] near F^F^.
Ktly conj. 32. meet] met Ff, Rowe i.
29. doe hurt] do any hurt Han« do 33. wouuds] F,. wound^s Pope, Han.
hurt to any Cap. do hurt to any one 39. why.„you P] why f,.,you^ CoIL
KUy. u.
30. O] O my Han. you F] you ? [Advancing] Cap.
Cbose who have not fully apprehended the peculiarities of Shakespeare's diction, pecn*
liarities without affectation, and who seize on an emendation of a supposed corruptioik
to guide them through an obscurity which exists but in their own perception. A com-
plete counterpart to the use of * capable impressure ' here is found in the phrase ' cap-
tious and intenible sieve.' — AWi Welly I, iii, 208. Staunton: 'Capable' means
tensible. [See Abbott, §§ 3, 445, for instances of other adjectives in -^/r, used both
actively and passively.]
26. some moment] Rolfs : Compare Rom. &* Jul. V, iii, 257 : < some minute
ere the time,' &c. * Some ' is still used with singular nouns to express kind or quan-
tity ; as in * some fresh cheek ' in line 32 just below, * some food.' — Temp. I, ii, 160, &c
We can even say * some half an hour,' — Lov^s Lab. L. V, ii, 90 ; * some month or
t9ro.^-^Afer. of Ven. HI, ii, 9, &c. It is doubtful, indeed, whether there is any Shake-
spearian use of the word which might not be allowed now. In Temp. I, ii, 7 (' Who
had no doubt some noble creature in her'), Dyce, Staunton, and others read * crea-
tures'; but even here the singular would not be clearly an exceptional instance.
28. Nor . . . no] For double negatives see Shakespeare, /oJiMFf, or Abbott, $$ 406,
408.
30. deere] Moberly : A dissyllable, and the missing syllables are probably filled
op by a laugh of derision.
32. fancie] Johnson : Here used for lave [and always so used in Shakespeife,
might be added].
39. mother] Johnson : It is common for the poets to express cruelty by Mying
of those who commit it that they were bom of rocks or suckled by tigresses. Cow-
den-Clarke : It seems evident to us that there was in Shakespeare's time some point
in making allusion to a beauty's mother. Here there is a scoff implied in this que*-
202 AS you LIKE IT [act hi. sc. v.
That you infult^exultyand all at once 40
Ouer the wretched ? what though you hau no beauty
40. in/ult,..once\ insult, and, all at Whait though Ktly.
once, exult Ktly. 41. hau no] F,. have Thcob. Warb.
and. ..once"] and rail, at once Johns. Steev. ^«z/^ j^w^ Han. Dyce iii.
Theob. Warb. Sing, and domineer Han. have mo Mai. Var. *2I. have more Steev.
d V outrecuidance Forbes (N. 6f* Qu. vi, '93.
423) and tyrannise Gould. 41, 42. hau no beauty As] have more
41. what though] What though ? Sing. beauty Yet Quincy (MS).
tion, and in Cym. Ill, iv, there is a passage which has puzzled commentators, but
which we think is readily comprehensible if our theory be correct. • Some jay of
Italy, whose mother was her painting,' appears to us to contain the like contemptuous
reference to a would-be beauty's origin, as in the sentence of the text.
40. all at once] Warburton : If the speaker intended to accuse the person
spoken to only for insulting and exulting, then, instead of * all at once,' it ought to
have been * both at once.' But, by examining the crime of the person accused, we
shall discover that the [phrase should be] : * rail at once.' Heath (p. 150) : Phebe
had in truth both insulted and exulted, but had not said one single word which could
deserve the imputation of railing. Steevens : I see no need of emendation. The
speaker may mean : * that you insult, exult, and that, too, all in a breath^ Such is,
perhaps, the meaning of * all at once.' Singer : It has been asked, * What <' all at
once " can possibly mean here ?' It would not be easy to give a satisfactory answer.
It is certainly a misprint, and we confidently read rail, with Warburton. Grant
White speaks of Warburton's conjecture as * somewhat plausible.' [On the follow-
ing passage in Hen. V: I, i, 36 : * Never was such a sudden scholar made ; Never
came reformation in a flood ; With such a heady currance, scouring faults ; Nor never
Hydra-headed wilfulness So soon did lose his seat, and all at once. As in this king,'
Staunton has this note :] This ' and all at once ' was a trite phrase in Shakespeare's
day, though not one of his editors has noticed it. [The present passage in As You
Like It is then referred to.] It is frequently met with in the old writers. Thus, in
The Fisherman^ s Tale, 1594, by F. Sabie : * She wept, she cride, she sob'd, and all at
once.' And in Middleton's Changeling, IV, iii : * Does love turn fool, run mad, and
all at once ?' Keightley : Read, * That you insult and exult all at once.' This
transposition removes all necessity for correction. Strange that the critics should not
have thought of it ! In my edition the transposition is wrong. Schmidt {s. v. once,
i) : And all the rest, and everything else. Wright, after citing Staunton's illustra-
tions, says : The first of these [from Hen, V] is not to the point, and a reference to
the others would not have been necessary had it not been proposed to substitute for
what gives a very plain meaning, either rail or domineer. [If a paraphrase be really
needed, Steevens's seems to be near enough. — Ed.]
41. hau no] Theobald: It is very accurately observed to me, by an ingenious
unknown correspondent, who signs himself L. H., that the negative ought to be left
out. [The letter of L. H. to Theobald is printed in Nichols's Illust. vol. ii, p. 632.]
Capell : The gentlemen who have thrown out the negative, and the other who has
chang'd it to some, make the Poet a very bad reasoner in the line that comes next to
this sentence ; and guilty of self-contradiction in several others, if * no ' be either
alter'd or parted with : besides the injury done to him in robbing him of a lively
expression, and a pleasantry truly comick ; for as the sentence now stands, the conse-
ACT III, sc. v.] AS YOU LIKE IT 203
[what though you hau no beauty]
qnence that should have been from her beauty he draws from her * no beauty/ and
extorts a smile by defeating your expectation. This ' no beauty ' of Phebe's is the
burthen of all Rosalindas speeches, from hence to her exit. Malone : That * no ' is
a misprint appears clearly from the passage in Lodge's Rosalyndty which Shakespeare
has here imitated : * Because thou art beautiful, be not so coy ; as there is nothing
more faire, so there is nothing more fading.' * No ' was, I believe, a misprint for mo.
So in III, ii, 257 : <mar no moe of my verses.' 'What though I should allow you
had more beauty than he (says Rosalind), though by my faith,' &c. (for such is the
force of As in the next line), ' must you therefore treat him with disdain ?' M.
Mason : If more is to stand, then we must read ' had more beauty,' instead of ' have.'
ToLLET : I have no doubt that the original reading * no ' is right. It is conformable
to the whole tenor of Rosalind's speech, particularly the line : ' Foul is most foul,
being foul to be a scoffer.' That mo or more was not the word used is proved by the
passage : < You are a thousand times t^properer man Than she a woman* Whiter :
Toilet's instance is foreign to the purpose. Take an example in point : ' thc^ there
was no great matter in the ditty, yet the note was very i^wtunable.' — ^V, iii. Collier :
The meaning seems quite clear. Rosalind intends throughout her speech to check
the vanity of Phebe, and begins by telling her she has no beauty, and therefore no
excuse for being * proud and pitiless.' The difficulty seems to be to imderstand the
passage when, varying from the old copies, mo is substituted for * no.' Mo or more
indicates comparison, but with whom was Phebe here to be compared in point of
beauty ? Not with Sylvius, because Rosalind says he was < a properer man.' Singer :
The negative particle was not intended to be taken literally. What though / is an
elliptical interrogation, and is again used in Mid. N» />., ' What though he love your
Hermia? Lord, what though?' Grant White: Rosalind's purpose is solely to
take the conceit out of Phebe. Walker {Crii. i, 308) : *No' is evidently wrong.
Somty I think, little as (even when shortened to som) it resembles ' no.' [Foot-note by
Lettsom] : In this class of errors there is often little or no resemblance between the
ejected and the substituted word. I believe som to be right ; but we should also read
had for * hau,' as the Folio prints the word, confoimding d with the long u or v. See
Dyce's Remarks^ p. 21 [where unquestionable instances are given of such confusion].
Dyce (ed. iii) : The fact is, * no ' was inserted by a mistake of the transcriber or com-
positor, whose eye caught it from the next line. Wright : The negative is certainly
required, because Rosalind's object is to strike a blow at Phebe's vanity. [Unques«
tionably, Rosalind's object is * to strike a blow at Phebe's vanity ' and * to take the con-
ceit out of her.' The question, it seems to me, is : will this end be gained as effect-
ively by denying that the girl has any beauty at all as by granting that she has no more
than the ordinary of nature's sale-work. To tell Phebe roundly that she had no beauty
whatsoever would be overshooting the mark. The devotion of Silvius disproves that.
Phebe knew she was pretty, and though inky brows and black silk hair were not
deemed as bewitching, in former times, as those of gold, yet cheeks of cream have
never been despised since blushes first mantled them. To have acknowledged that
she had some beauty, no more than without candle may go dark to bed, is damning
with very faint praise, the bitterest of all condemnation ; it is a disprizing, the pangs
whereof Hamlet teaches us. Furthermore, to be strictly logical, can a maiden with
no beauty, therefore^ or on that account, be proud ? But if she has only a little beauty
it may well be asked whether she is therefore to be proud and pitiless. Accordingly,
the text which I should follow would be Hanmer's. — Ed.]
204 AS YOU LIKE IT [act iii^ sc t.
As by my faith, I fee no more in you 42
Then without Candle may goe darke to bed :
Muft you be therefore prowd and pittileffe?
Why what meanes this ? why do you looke on me ? 4$
I fee no more in you then in the ordinary
Of Natures fale-worke/'ods my little life,
I thinke fhe meanes to tangle my eies too :
No faith proud Miftreffe, hope not after it,
'Tis not your inkie browes, your blacke filke haire, 50
Your bugle eye-balls, nor your cheeke of creame
That can entame my fpirits to your worfhip :
You foolifli Shepheard, wherefore do you follow hef
Like foggy South, puffing with winde and raine.
You are a thoufand times a properer man 55
Then (he a woman. 'Tis fuch fooles as you
43. Cf. La nnit, toos lea chats sont 50. blacke ,., haire\ black -silk hair
gris.— ^Ed. Cap. Steev. Mai. Coll. Sing. Dyce, Sta.
48. my e%es\ mine eyes Ff, Rowe+» black si/k-kair KHy.
Cap. 52. entame] entraine Warb. conj.
50. yonr inkie] you inkie F,. 56. woman.] woman : Cap.
1 ■ - - - ' — -■- — - - - — . _ - - .
43. darke] Moberly : That is, without exciting any particular desire for light to
■ee it by.
46. This line, as line 4 aboTe, Abbott classes among 'Apparent Alexandrines ' by a
mode of scansion to which I cannot become reconciled : * I s^ | no mdre | in ydu |
than fn | the 6Tdinary* I had rather have the slow dragging of a dozen wounded
boa-constrictors than the ' slurring ' of syllables which is here recommended.^-£D.
47. salc-worke] Warburton : The allusion is to the practice of mechanics, whose
work bespoke is more elaborate than that which is made up for chance-customers, or
to sell in quantities to retailers, which is called ' sale-work.' Wright : The modem
phrase is * ready-made goods.'
51. bugle] Murray (New Eng. Did.) : A tube-shi^d glass bead, usually black,
and to ornament wearing apparel. [Examples follow from Spenser, 1579, to the pres-
ent day. Its colour here, we learn fix>m Fhebe ; in line 135 she says : * He said mint
eyes were black.'— Ed.]
52. entame] Abbott, § 440 : That is, bring into a state of tameness.
53. Again Abbott, § 458, thus scans : * You fool | ish sh^p | herd, wh^re | fore d<5 1
you iSilow her^
54. foggy South, puffing] Caldecott: Compare *Pu£b away from thence,
Turning his face to the dew-dropping south.' — Rom. ^ Jul. I, iT.
56. 'Tis] Capell was the first to desert the good punctuation of the Folio here,
and has been followed by nearly every editor, except White in his first edition, even
down to Verity in his edition for Irving. A full stop in the middle of a line is so
unusual in F,, that it deserves more attention than the punctuation in that edition
generally merits. Frequently it indicates a change of address, as in II, vii, 204; III,
ACT III, sc. v.] AS YOU LIKE IT 205
That makes the world full of ill-fauourd children : 57
'Tis not her glafle, but you that flatters her,
And out of you fhe fees her felfe more proper
Then any of her lineaments can fhow her : 60
But Miftris, know your felfe, downe on your knees
And thanke heauen, fading, for a good mans loue;
For I muft tell you friendly in your eare.
Sell when you can, you are not for all markets :
Cry the man mercy, loue him, take his offer, 65
Foule is moft foule, being foule to be a fcoffer.
So take her to thee Shepheard,&reyouwell.
Pile. Sweet youth, I pray you chide a yere together,
I had rather here you chide, then this man wooe.
Ros. Hees falne in loue with your foulneffe, & fhee'U 70
57. tnakes\ Ff, Rowe, Cap. Cam. Ktly, Pope et cet
Rife, Wb. ii. maJie Pope et cet 7a [Aside.] Johns.
58. flatter5\ flatter Rowe ii + . y<mr\ her Han. Johns. Cap. Steev.
64. when'\ what Rowe i. Mai. Dyce iii, Coll. iii, Huds.
67. fareyouwell^ fare you well Ff. &»fliee'll'\ To Silvins. Andshe^U
70-73. Dividing lines, flie^ll.,.fo^.^. Sing.
lookeSf. ,. words. „me f Ktly. As Prose, fliee'll'\youUlYXLy,
i, 16, also in line 71 of this present scene ; and such a change, I think, is indicated
here. It is to Phebe, not to Silvius, that Rosalind says, < 'Tis such fools as you,' &c.
The words are another stab at Phebe's personal vanity. It is she, with her folly, that
is to be the mother of ill-favoured children. Rosalind is espousing Silvius's part, and
although she has just called him * foolish,' that is not the same as calling him a ' fool.'
After having compared him with Phebe on the score of physical beauty, and pro-
nounced him a thousand times a properer man, it is not exactly in keeping to say
that he is to be the father of ugly children. Of course, the text shows clearly enough
that lines 58-60 are addressed to Silvius, but it is the punctuation here in line 56
which, I think, was intended to be our guide.-~ED.
57. That makes] Wright : The verb is singular because the nominative is the
idea contained in what precedes, as if it had been, * 'tis the fact of there being such
fools as you that makes,' &c. [See Abbott, § 247.]
66. Warburton : The only sense of this is : An ill-favoured person is most ill-
finvoured when, if he be ill-favoured, he is a scoffer. Which is a deal too absurd to
come from Shakespeare ; who, without question, wrote : < being /ound to be a scoffer ' ;
i, e, where an ill-favoured person ridicules the defects of others, it makes his own
appear excessive. Heath : Mr Warburton first of all gives us a very false and absurd
interpretation of this passage, and then on the foundation of that very absurdity, which
is wholly his own, and not to be found in the text, he rejects the authentic reading, to
make room for his own very flat emendation. Johnson : The sense is. The ugly seem
™oBt ugly, when, thn^k ugly, they are scoffers. Abbott, § 356 : This seems to
mean : foulness is most foul when its foulness consists m heit^ scomiiil. [For this
use of the infinitive see I, i, 109; II, vii, 182.]
206
AS YOU LIKE IT
[act III, SC. V.
Fall in loue with my anger. If it be fo, as fall
As (he anfweres thee with frowning lookes, ile fauce
Her with bitter words : why looke you fo vpon me?
Phe. For no ill will I beare you.
Rof. I pray you do not fall in loue with mee,
For I am falfer then vowes made in wine :
Befides, I like you npt : if you will know my houfe,
'Tis at the tufft of Oliues, here hard by :
Will you goe Sifter ? Shepheard ply her hard :
Come Sifter : Shepheardeffe, looke on him better
And be not proud, though all the world could fee,
None could be fo abusM in fight as hee.
Come, to our flocke, Exit.
Phe. Dead Shepheard, now I find thy faw of might.
Who euer lovM,that louM not at firft fight?
71
75
80
85
80. Sifiery] Sifter, Fj. Sifter F^.
81. fee'\ see ye Han.
83. Come^ Come F^F^ Rowe i.
84. Dead'\ Deed Ff, Rowe, Warb.
^Deedy Han.
70. your] If Hanmer's change to her be adopted, Johnson's marking of this speech
as an Aside seems proper enough. And yet it seems necessary that Silvius should
hear it in order that he may understand why Rosalind should sauce Phebe with bitter
words. Again, note the break in the line, which may give emphasis, as in line 56, to
the change of address ; yet it will not do to build too much on this, or on any punc-
tuation in the Folio. Surely, if anywhere, a full stop as ai^ indication of the change
of address is needed in line 73. — ^Ed.
72. sauce] RoLFE : Cf. our vulgarism of ' sassing ' a person. From meaning to
give zest or piquancy to language, the word came to be used ironically in the sense of
making it hot and sharp ; or, in other words, from meaning to spice, it came to mean
\a pepper,
77. Again, according to Abbott, § 499, this is only an < apparent Alexandrine.' But
this time it is not the final syllables which are slurred over, but the single foot < Besides '
which precedes the line and creates the false show.
82. abus'd] Johnson : Thdugh all mankind could look on you, none could be so
deceived as to think you beautiful but he.
84. Dead Shepheard] Dyce (Marlowe's Works, i, xlviii) : These words sound
not unlike an expression of pity for Marlowe's sad and untimely end.
85. Capell was the first to discover that this <saw' is from Marlowe's Hero and
Leander, the paraphrase of a poem by the Pseudo-Musseus, first printed in 1598,
although the edition which Capell used was that of 1637. The line is in the First
Sestiad (p. 12, ed. Dyce): 'Where both deliberate, the love is slight: Who ever
lov'd, that lov'd not at first sight?' It is also given in England^ s Parnassus, 1600,
p. 308, Collier's Reprint, and on p. 423 of Capell's School. — Ed. Malone : This
poem of Marlowe's was so popular (as appears from many contemporary writers) that
ACT III. sc. v.] AS you LIKE IT 207
SU. Sweet /%^3^. 86
Phe. Hah: what faift thou Siluius ?
SU. Sweet Phebe pitty me,
Phe. Why I am forry for thee gentle Siluius.
SU. Where euer forrow is, reliefe would be : 90
If you doe forrow at my griefe in loue,
By giuing loue your forrow, and my griefe
Were both exterminM*
Phe. Thou haft my loue, is not that neighbourly?
SU. I would haue you. 95
Phe. Why that were couetoufneffe :
SUuius; the time was, that I hated thee ;
And yet it is not, that I beare thee loue.
But fince that thou canft talke of loue fo well,
Thy company, which erft was irkefome to me lOO
I will endure ; and He employ thee too :
But doe not looke for further recompence
Then thine owne gladneffe, that thou art employd
5/7. So holy, and fo perfeft is my loue,
And I in fuch a pouerty of grace, 105
That I (hall thinke it a moft plenteous crop
To gleane the broken eares after the man
That the maine harueft reapesJoofe now and then 108
86. Phebe.] Phebe, — Cap. et seq. Rowe, Pope, Han.
87. Siluiiu] Sihna Johns, (misprint ?). 105. grace"] grace attends it Rowe,
92. loue yoter forrow,'] love, your SOT' Pope, Han.
row Rowe et seq. 106. plenteous] plentious Ff.
105. And I in] And in Y^ And F^F^, 108. loo/e] lofe F^, Rowe.
a quotation from it must have been known at once, at least by the more enlightened
part of the audience. Shakespeare again alluded to it in The 7\vo Gent. [This
* allusion ' is merely a reference to the story of Hero and Leander. The only twist
whereby Malone can there make it refer to Marlowe's Poem, which is of a later date
than The Tkuo Gent., is to suppose that Shakespeare read the poem in MS before its
publication. — Ed.]
93. eztermin'd] Exterminated. Wright: Compare exiirp and extirpated,
RoLFE : Used by Shakespeare only here. Its equivalent, exterminate, he does not
use at all.
94. neighbourly] Halliwell: These words seem scarcely natural to the
speaker, unless it be presumed there is here an allusion to the injunction to < Ioyc
thy neighbour as th3r8elf.'
98. yet it is not] Rev. John Hunter : The time is not yet
99. since that] See I, iii, 44, or Abbott, $ 287.
90S AS YOU LIKE IT [act in, sc. v.
A fcattred fmile,and that He Hue vpon. Awhile?
Phe. Knowft thou the youth that fpoke to mee yere- I lO
Sil. Not very well, but I haue met him oft,
And he hath bought the Cottage and the bounds
That the old Carlot once was Mafter of.
Phe. Thinke not I loue him, though I ask for him,
'Tis but a peeuifti boy, yet he talkes well, 115
But what care I for words ? yet words do well
When he that fpeakes them pleafes thofe that heare :
It is a pretty youth, not very prettie.
But fure hee's proud, and yet his pride becomes him;
Hee'U make a proper man: the beft thing in him 1 20
Is his complexion : and iafler then his tongue
Did make offence, his eye did heale it vp :
He is not very tall, yet for his yeeres hee's tall :
His leg is but fo fo,and yet 'tis well : 124
109. fcattred'] fcattered Ff, Rowe. 123. very\ Om. Han. Cap. Steev. '93,
scattered Pope et seq. Dyce iii.
no. yerewhile] F,Fj. 124. /o/o\ so Johns.
113. Carlot] Roman, first by Steev.
no. yerewhile] Wright calls attention to this spelling in the first three Folios,
and adds: < So in the Authorised Version of 1 611 < ere' is spelt 'yer' in Numbert
xi, 33; xiv, ii.»
113. Carlot] Douce: That v&y peasant, from carie or churl; probably a word of
Shakespeare's coinage. Dyce : It is evidently the diminutive of ror/— churl (com-
pare * My master is of churlish disposition,' — II, iv, 84, where the same person is
alluded to). And see Richardson's Diet, in v. Carle. CoLUER (ed. ii) : Richardson,
under Carl, quotes Shakespeare's ' Carlot,' and says Drayton has Carlet in his Barani
WdrSf B. V. He has Cartel in B. iv, but by Cartel he means Herckley, Constable of
Carlisle. Shakespeare alone uses < Carlot.' Keightley : It is printed as a proper
name, and it may be the Spanish Carloto. No such substantive as < carlot ' is known.
114. Caldecott : Trinculo does not more naturally betray himself when he says :
* By this good light, a very shallow monster : / afeard of him f a very shallow mon-
ster.' — Temp. II, ii. Fletcher (p. 203) : Of Phebe, in name and character no less
an ideal shepherdess than Rosalind is an ideal princess, it may be said that we might
have been grateful for her creation, even had she been introduced for no other pur-
pose than to give us the enamoured lines which convey so exquisite a portrait of this
terrestrial Ganymede.
115. peeuish] Cotgrave has: Hargntux. Peeuish, wrangling, diuerous, ouer-
thwart, crosse, waiward, froward ; ill to please, euer compla]ming, neuer quiet.
123. very] Walker (Crit. i, 269) agrees with Hanmer in erasing this 'very*;
which is, I think, justifiable, seeing how frequently this word is interpolated. To
avoid the baleful name Alexandrine, Abbott, § 501, calls the line a trimeter couplet,
and thus divides it : < He is | not v^ | ry till : || yet i^ \ his y^ars | he's till.' — ^£d.
ACT III. sc. v.] AS YOU LIKE IT 209
There was a pretty redneffe in his lip, 12$
A little riper, and more luftie red
Then that mixt in his cheeke: ^twas iuft the difference
Betwixt the conftant red, and mingled Damaske.
There be fome women Silutus, had they markt him
In parcells as I did, would haue gone neere 130
To fall in loue with him : but for my part
I loue him not, nor hate him not : and yet
Haue more caufe to hate him then to loue him,
For what had he to doe to chide at me ?
He faid mine eyes were black, and my haire blacke, 135
And now I am remembred, fcom'd at me :
I maruell why I anfwer'd not againe.
But that^s all one ; omittance is no quittance :
He write to him a very tanting Letter,
And thou (halt beare it, wilt thou St/uius? 140
Sil. Phebe^ with all my heart.
Phe. He write it ftrait :
The matter's in my head, and in my heart,
I will be bitter with him, and paffmg (hort ;
Groe with me Siluius. Exeunt 145
133. Haue\ Dyce i, Sta. Qke. / 139. tanHng\ taunting F^.
have Yiy Rowe et cet. Have much Sta. Letter^ Lettler F,.
conj. 144. and'\ Om. Cap.
127. Abbott, § 494, tells iu to slur the extra syllables in < difference.'
128. Damaske] Steevens : < Constant red' is uniform red. *^ Mingled damask '
is the silk of that name, in which, by a various direction of the threads, many lighter
shades of the same colour are exhibited. Knight : We doubt this. The damask
rose was of a more varied hue than the constant red of other species of rose.
Wright: Red and white, like the colour of the damask roses. Compare Sonn.
cxxx, 5 : ' I have seen roses damask'd, red and white, But no such roses see I in
her cheeks.' [' Mingled damask ' is of course a colour, and a colour well known,
but what the colour was, it is doubtful if we can by any means tell at present It
is even possible that < damask ' may refer to some kind of material, and not to roses.
Cotgrave tells us distinctly that damask roses are white. At the present day and in
this country there is no variation, such as Knight speaks of, in the hue of the old-
fashioned damask rose, other than in the paler hue which accompanies its fading ;
otherwise its tint of light pink is quite as < constant ' as that of any of its redder sis-
ters. Until we can gain more information we must rest content with imagining Gany-
mede's cheek to be of the fairest earthly tint and finest earthly texture. But where
is the umber ? — Ed.]
138. omittance is no quittance] Walker {Crit, iii, 64) : A proverb of course.
Milton, P. L, X, 53, man * soon shall find Forbearance is no quittance ere day end.'
14
2IO AS you LIKE IT [act iv. sc. i.
A6lus Quartus . Scena Prima.
Enter Rofalindj and Celia^ and laques.
lag. I prethee, pretty youth, let me better acquainted
with thee.
Rof They fay you are a melancholly fellow.
lag. I am fo : I doe loue it better then laughing.
Rof. Thofe that are in extremity of either, are abho-
minable fellowes, and betray themfelues to euery mo-
deme cenfure,worfe then drunkards. 8
The Forest. Rowe. 6, 7. abhominabie] abominable F^.
2. me] me be Yi et seq.
5. I do loue it] MoBERLY : < You are always complaining of melancholy/ says
Johnson to Boswell (iv, 301), ' and I conclude from those complaints that you are fond
of it. Do not pretend to deny it ; manifestum habemus furem. Make it an invari-
able and obligatory law on yourself never to mention your own mental diseases. If
you are never to speak of them you will think of them but little ; and if you think
little of them they will molest you rarely.*
7, 8. modeme . . . drunkards] The drift of Rosalind's whole speech appears to
be that both classes of men, those who are profound in their melancholy and those who
are boisterous in their mirth, expose themselves even more openly than drunkards to
every conunonplace, hackneyed criticism. She had taken down Phebe's conceit by
asserting that her beauty was no more than a fair average of Nature's ready-made
goods ; she is now about to do the same to Jaques by saying that he was no more
interesting in his sentimental melancholy than a common drunkard. But Moberly
interprets it somewhat differently ; and as his interpretation of the whole comedy,
with which I cannot altogether agree, is charming and attractive, every word he
utters in support of it deserves to be well weighed. To Moberly, this encounter
between Jaques and Rosalind is one of the passages where the great moral lesson of
cheerfulness is conveyed, a lesson which Shakespeare happened to need in his oWn
life at that time, and the need whereof he saw in the anxious thought of eminent men
around him : * Thus,' says Moberly, * Sir H. Sidney writes to his son Sir Philip, " Let
your first action be the lifting up of your mind to Almighty God by hearty prayer ; . . . .
then give yoiu-self to be merry ; for you degenerate from your father, if you find not
yourself most able in wit and body to do anything when you are most merry." ' This
present speech of Rosalind is one of the happy hits, and is thus paraphrased by
Moberly {ItUrod. p. 9) : 'And what is this melancholy of which Jaques boasts ? [asks
Rosalind sarcastically]. Something as bad or worse than the most giddy merriment :
something that incapacitates him from action as completely and more permanently
than drunkenness.' Again, his note ad loc. is : < Worse than drunkards. For both
alike are as incapable of action as drunkards, and their state is more permanent.'
ACT IV. sc. i.] AS YOU LIKE IT an
lag. Why/tis gopd to be fad and fay nothing,
Rof. Why then 'tis good to be a pofte. lO
lag. I haue neither the SchoUers melancholy, which
is emulation: nor the Mufitians, which is fantaflicall ;
nor the Courtiers, which is proud: nor the Souldiers,
which is ambitious : nor the Lawiers, which is politick :
nor the Ladies, which is nice: nor the Louers, which 15
is all thefe : but it is a melancholy of mine owne, com-
pounded of many fimples, extrafted from many obiefts,
and indeed the fundrie contemplation of my trauells, in 18
14. polituk] political Rowe i. titms of F^F^, Rowe i.
18. fundrie] fundty F^. i8, 19. in which"] which Var. '21. on
contemplation of my] contempla- which Seymour.
Here Moberly seems to take * worse * as qualifying the subject ; I think it qualifies
the verb * betray.' — Ed.
1 1-20. Maginn : This is printed as prose, but assuredly it is blank verse. The
alteration of a syllable or two, which in the corrupt state of the text of these plays is
the slightest of all possible critical licenses, would make it run perfectly smooth. At
all events, ' emulation ' should be emutcUive^ to make it agree with the other clauses of
the sentence. The courtier's melancholy is not pride^ nor the soldier's ambition, &c.
The adjective is used throughout : < fantastical,' < proud,' ' ambitious,' < politic,' < nice.'
[Maginn thus divides the lines : < Neither the scholar's melaif^oly, which || Is emu-
lation ; 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.'. [Rather ragged verse, it must be owned.
I should prefer to call it metric prose, or measurably like the semi-metric prose of
Walt Whitman at the present day. There would be a lack of harmony in giving
Jaques a single speech in regular blank verse in a scene where every other speech is
in prose. — Ed.]
14. Moberly : The scholar's melancholy springs from envy of other men's supe-
rior mental powers, which his diligence may be unable to cope with ; the courtier's is
from pride, which puts him out of sympathy with his kind ; the lady's is from fastid-
iousness ; the soldier's from disappointed ambition ; the lawyer's from professionally
assumed or half-real sympathy with his client. [To understand the musician's melan-
choly, I think we must take ' fantastical ' as referring to love-sick music ; and may we
not take both < politic ' and < lawyer ' in a somewhat wider sense than that just given ?
May not ' lawyers ' be lawgivers, and < politic ' denote that which is connected with
the science pf government? — Ed.]
15. nice] Steevens : Silly, trifling. Caldecott : Affected, over-curious in trifles.
Nares: Foolish, trifling. Halliwell: Delicate, affected, efieminate. Dyce:
Scrupulous, precise, squeamish. Hudson: Fastidious, dainty, or squeamish. Verity:
Squeamish, super-subtle, finicking. [An object-lesson, to teach the student to make
his own definitions,— especially where none is required. — Ed.]
212 AS YOU LIKE IT [activ. sc. i.
which by often rumination, wraps me in a mod humo-
rous fadneffe. 20
Rof. A Traueller : by my faith you haue great rea-
fon to be fad : I feare you haue fold your owne Lands,
to fee other mens ; then to haue feene much , and to haue
nothing, is to haue rich eyes and poore hands.
laq. Yes, I haue gainM my experience. 25
Enter Orlando.
Rof. And your experience makes you fad : I had ra-
ther haue a foole to make me merrie, then experience to
make me (ad, and to trauaile for it too.
Orl. Good day, and happineffe, deere Rofcdind. 30
laq. Nay then God buy you, and you talke in blanke
verfe. 32
19. by\ Var. *2I, Coll. Sing. Sta. Ktly, 31. laq.] Orl. F,.
Dyce iii. »iy Ff, Rowe et cet. ^y\ Ff, Cam. h'v^y Rowe + .
rumination^ rumination Roweet V wi"* Wh. Dyce. be Ttn* Cap. et cet
seq. and'} Ff, Rowe, Cald. an Pope
i«] is Steev. '93. et cet.
25. wy] Om. Rowe, Pope, Han. nte 32. ver/e} verfe. Exit. Ff, Rowe et
Theob. ii, Warb. Johns. seq.
29. trauaile} travel F^F^. Scene II. Pope, Han. Warb.
18-20. in . . . sadnesse] Malone, reading < by often,' omitted the first ' in,' in
line 18; Steevens, reading < my often,' changed the second <in,' in line 19, to tr,
adding: < Jaques first informs Rosalind what his melancholy was not ; and naturally
concluded by telling her what the quality of it tr.* Caldecott, reading * my often,*
thus paraphrases : It is the diversified consideration or view of my travels, in which
process my frequent reflection, and continued interest that I take, wraps me in a
whimsical sadness. Knight, reading my : His melancholy is the contemplation of
his travels, the rumination upon which wraps him in a most humorous sadness.
White : * By ' is clearly a corruption, as it leaves * wraps ' without a nominative
expressed or understood. The point of the speech is that the satirical Jaques finds in
the contemplation of his travels his cause for melancholy. He means to sneer, more
suOy at the whole world ; and this he is made to do by the substitution of my for < by,'
and of a semicolon for a conuna after < travels.' The pleonastic use of ' in ' is quite
in conformity to the custom of the time.
19. humorous] Caldecott : In his Apology for Smectymnus^ Milton says of his
own ear for numbers, that it was < rather nice and humorous in what was tolerable
than patient to read every drawling versifier.' — ^Warton's Miltonj p. 207. [See
* humorous.' — I, ii, 265.]
31. and] That is, an. See Abbott, § loi, if necessary. Wright: In this form
it occurs where it is little 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.'
31, 32. blanke verse] What are we to understand by this? It is Orlando who
ACT IV, sc. L] AS YOU LIKE IT 213
Rof. Farewell Mounfieur Trauellor : looke you 33
lifpe,and weare ftrange fuites; difable all the benefits
has just uttered the only line of blank verse. Jaques, therefore, hears Orlando, even
if Rosalind does not, or pretends that she does not ; see Grant White's interpretation,
in the next note. — £d.
32. Nearly every modem edition follows the Ff in putting Exit at the end of this
line. Dyce placed it after < gondola ' in line 38, and is followed by Cowden-Clarke,
Hudson, and the Irving. Dyce {Remarks, p. 63) quotes Rosalind's speech from line
33 down to her address to Orlando in line 38, and asks : ' Does Rosalind say all this
to Jaques after he has left the stage /' He then goes on to say, in regard to the Exit
of the Ff, that * Exits as well as Entrances were very frequently marked much earlier
than they were really intended to take place ; and nothing can be more evident than
that here the exit of Jaques ought to follow " gondola." * White (ed. i) : The ques-
tion has been raised, whether Jaques should go out when he takes leave, or just before
Rosalind addresses Orlando. It seems plain that in the latter case a charming and
characteristic incident would be lost. Rosalind is a little vexed with Orlando for not
keeping tryst. She sees him when he comes in, but purposely does not look at him,
no woman needs be told why. He speaks, but she, with her little heart thumping at
her breast all the while, refuses to notice her lover, and pretends to be absorbed in
Jaques ; and as he retires, driven off by the comidl; scene of sentiment, the approach
of which he detects, she still ignores the presence of the poor delinquent, and con-
tinues to talk to Jaques till a curve in the path takes him out of sight ; then turning,
she seems to see Orlando for the first time, and breaks upon him with, ' Why, how
now ?' &c. Well might the old printer in Promos and Cassandra say that there are
some speeches 'which in reading wil seeme hard, and in action appeare plaine.'
Dyce quotes this note of White's, and adds : 'All this is, no doubt, very ingenious ;
but I cannot help thinking that it shows little knowledge of stage-business. The
modem acting-copies of As You Like It do not allow Jaques to take any part in the
present scene.' White, however, did not lay to heart this criticism and improve his
* knowledge of stage-business.' In his second edition he says : < Rosalind's speech,
until she chooses to notice the tardy Orlando, is addressed to the retiring Jaques.'
[I cannot avoid thinking that Dyce is entirely right. There is something humiliating
in the idea of Rosalind talking to Jaques's back, and if he walked away at even a
leisurely pace Rosalind's final words must have been pitched, if he is to hear them,
almost in the scream of a virago. We must note the effect on Jaques of these final
thrusts, we must count the wounds, or else Rosalind's victory is small. If Jaques's
back is turned, his ears are deaf, and the victory is his rather than Rosalind's. At
the same time that I give in my adhesion to Dyce, I must confess that he does not
explain Orlando's address to Rosalind, nor her disregard of it It may be that
he would accept that much of Grant White's interpretation which attributes her
silence to a punishment for his tardiness, but then one of Dyce's strong points
IS that the entrances are marked (for stage purposes) many lines in advance. Here
the entrance is marked, and Orlando speaks, many lines before he is addressed by
Rosalind.— Ed.]
34. lispe] See Mercutio's invective against Tybalt. — Rom. ^ Jul, II, iv, 26.
Wright : See Overbury's Characters ( Works^ p. 58, ed. Fau-holt), where * An Affec-
tate Traueller ' is described : < He censures all things by countenances, and shrugs,
and speakes his owne language with shame and lisping.' [Sig. F, ed. 1627. Over-
214 AS YOU LIKE IT [act iv, sc. i.
of your owne Countrie: be out of loue with your 35
natiuitie, and almofl chide God for making you that
countenance you are ; or I will fcarce thinke you haue
fwam in a Gundello. Why how now Orlando^ where
haue you bin all this while? you a louer? and you
ferue me fuch another tricke, neuer come in my fight 40
more.
OrL My faire Rofalindy I come within an houre of my
promife,
Rof. Breake an houres promife in loue? hee that
will diuide a minute into a thoufand parts, and breake 45
but a part of the thoufand part of a minute in the affairs
38. Gundello] Gondallo Rowe. Con- et cet.
i/ic^/ci Pope. ^<7if</i9/a. [Exit Jaques] Dyce. i^(i, thoufand'\ thousandth Rowe et
39> 50. and'\ Ff, Rowe, Cald. an Pope seq.
bury's Characters were published in 1614; after his death.] Moberly quotes a
passage from The Scholemaster [p. 75, ed. Arber] where Ascham says: 'I know
diverse, that went out of England, men of innocent life, men of excellent leamyng,
who returned out of Italic^ not onely with worse manners, but also with lesse learn*
yng ; neither so willing to line orderly, nor yet so hable [Lat. habilis'\ to speake
leamedlie, as they were at home, before they went abroad.' But this is only one sen-
tence where whole paragraphs might be quoted from these closing ten pages of
Ascham's First booke. His denunciation of the life led by Englishmen in Italy, and
of their manners when they return, is unmeasured. 'And so,' he says, ' beyng Mules
and Horses before they went, relumed verie Sw]me and Asses home agayne ' ; and
farther on, < they should carie at once in one bodie, the belie of a Swyne, the head
of an Asse, the brayne of a Foxe, and the wombe of wolfe ' ; and that even the
Italians have a proverb which says: 'Englese Italianato, e vn diabolo incamato.'
It is from these pages that in the Mer. of Ven. p. 297, 1 quoted Ascham's indig-
nation at the translations of Italian novels then 'sold in euery shop in London.'
—Ed.]
34. disable] That is, undervalue, disparage. See V, iv, 79.
38. Gundello] Johnson : That is, been at Venice, the seat at that time of all licen-
tiousness, where the young English gentlemen wasted their fortunes, debased their
morals, and sometimes lost their religion. Mrs Griffith (p. 87) : Venice was then
the polite goal^ as Paris is now : so that to ' swim in a Gondola ' is as if we should say,
< ride in a vis-&-vis,' at present [A Mrs Griffith to date is needed to give us a note
on a < vi8-2i-vis. — Ed.] White (ed. i) : Ladies say that their shoes are < as big as a
gundalow ' (what lady's shoes are ever otherwise ?), without any notion that they are
comparing them to the coaches of Venice. But it is so. [For the spelling see < Gun-
delier.' — 0th, I, i, 138. Walker {^Vers, 218) gives 'gondelay,' from Spenser, F, Q.
II, c. vi, St. ii ; and * ** gundelet," 1. e, a gondoletta,' from Marston's Ant. &* Afellida,
III, ii.]
46. thousand] Thb is merely phonetic spelling, like ' sixt' ' for sixth. — Ed.
ACT IV, sc. L] AS YOU LIKE IT 215
of loue, it may be faid of him that Cupid hath clapt 47
him oth' (houlder, but He warrant him heart hole.
OrL Pardon me deere Rofalind.
Rof. Nay, and you be fo tardie, come no more in my $0
fight, I had as liefe be woo'd of a Snaile,
Orl. Of a Snaile ?
Rof. I, of a Snaile : for though he comes flowly, hee
carries his houfe on his head ; a better ioynfture I thinke
then you make a woman: befides, he brings his deftinie 55
with him.
Orl. What's that ?
Rof. Why homes : w fuch as you are faine to be be-
holding to your wiues for : but he comes armed in his
fortune, and preuents the flander of his wife. 60
48. hearihoU] heart whole ¥^. heart- 58. ^^] Om. Rowe i.
whole Rowe. 58, 59. behoiding] Ff, Rowe, Cap.
55. you make"] you can make Han. Cam. Coll. iii, Wh. ii. beholden Pope
Johns. Steev. Md. Wb. i, Dyce iii, Coll. et cet.
iii. 59. comes^ come F,Fj.
47. clapt] It is not easy to decide whether this means a clap by way of friendly
encouragement, as it is used in Much Ado, I, i, 261 : < He that hits me, let him be
clapped on the shoulder, and called Adam ' ; and again, Love's Lab. L, V, ii, 107 :
* With that, all laughM and clapp'd him on the shoulder. Making the bold wag by
their praises bolder'; and again in Tro, dr* Cress. Ill, iii, 138: 'even already They
clap the lubber Ajax on the shoulder, As if his foot were on brave Hector's breast ' ;
or a clap by way of arrest from a court officer, as in Cym. V, iii, 78 : < fight I will no
more. But yield me to the veriest hind that shall Once touch my shoulder.' Wright
prefers the latter interpretation, as does also Schmidt, whom Rolfe follows, and there
is colour for the preference in the use of the word ' warrant ' immediately following.
But, on the whole, the former interpretation seems preferable. — Ed.
51. of] If necessary, see Abbott, § 170.
55. you make] Hanmer's change, 'than you can make,' is upheld by White
(ed. i) on the score that * Rosalind is speaking not of Orlando's acts, but of his abili-
ties.' To me, however, the change is not only needless, but erroneous. ' You ' does
not refer to Orlando personally, any more than < your wives,' in line 59, accuses him
of polygamy. It is the French < on.' I suppose the meaning of the sentence is that
a snail is better off than a woman because he enjoys all the time the possession of his
house, whereas a woman cannot possibly poteess her jointiire until she becomes a
widow, and if she dies before her husband will never have it at all. — Ed.
59. beholding] The almost universal form, among the dramatists, of the present
beholden.
60. fortune] Allen (MS) : That is, come armed in that which it is his fortune to
come to.
60. prevents] Anticipates, in its Latin derivative sense. For examples, see
Schmidt
2i6 AS YOU LIKE IT [act iv. sc. i.
OrL Vertue is no home-maker : and my Rofalind is 6 1
vertuous.
Rof. And I am your Rofalind,
CeL It pleafes him to call you fo : but he hath a Rofa-
lind of a better leere then you. 65
Rof Come,wooe me,wooe mee: for now I am in a
holy-day humor, and like enough to confent: What
would you (ay to me now, and I were your verie, verie
Rofalind}
Orl. I would kiffe before I fpoke, 70
Rof Nay, you were better fpeake firft,and when you
were grauel'd, for lacke of matter, you might take oc-
cafion to kiffe: verie good Orators when they are out,
they will fpit, and for louers, lacking (God warne vs)
matter, the cleanlieft fliift is to kiffe. 75
66. «/, woo€\ me, wooe, F^. 71. Rof.] Orl. F,.
68. and'\ Yiy Rowe, Cald. an Pope 74. wame\ warrant Anon, {ap, CanL
et cet. Ed.).
65. leere] Tollet : That is, of a better feature, complexion, or colour than you.
Skeat : The Mid. Eng. Ure means the cheek, also the face, complexion, mien, look.
* A loveli lady of Ure ' = a lady of lovely mien. — P. Plowman, B. i, 3. It was orig-
inally almost always used in a good sense, and with adjectives expressive of beauty,
but in Skelton we find it otherwise in two passages : ' Her lothely lere Is nothynge
clere, But vgly of chere ' =her loathsome look is not at all clear, but ugly of aspect.
^^Elynour Rummynge, 1. 12; 'Your lothesum lere to loke on.* — 2d Poem against
Gamesche, 1. 5. Shakespeare has it in two senses: (i) the complexion, aspect [the
present passage]. Tit. And, IV, ii, 119; (2) a winning look. Merry Wives, I, iii,
50. At a later period it is generally used in a sinister sense. From Ang. Sax. hledr,
the cheek ; hence the face, look. The original sense may have been < slope,' from the
Teut. base hli, to lean. [Does not this refer to the umber with which Ganymede's
Utot was smirched? — Ed.]
72. grauel'd] Cotgrave has : ^AssabU : Grauelled ; filled with sand ; also, stucke
in, or run on, the sand.' Wright : Compare Bacon, Advancement of Learning (ed.
Wright), i, 7, § 8, p. 57 : ' But when Marcus Fhilosophus came in, Silenus was grav-
elled and out of countenance.' [See also Richardson's Diet, for several other exam-
ples of the verb.]
73. kisse] Steevens : Thus also in Burton's Anatomy of Melancholy : * and when
he [Stratocles] hath pumped his wits dry, can say no more, kissing and colling are
never out of season.* — [p. 506, ed. 165 1].
74. warne] Steevens : If this exclamation (which occurs again in the Qq. of
Mid. N. Z>.) is not a corruption of < God ward us,' f . e. defend us, it must mean * sum-
mon us to himself.' So in Rich. Ill : I, iii, 39 : 'And sent to warn them to his royal
presence.' ScHMiDT interprets it : ' God guard us,' ' God forbid,' which has a mean-
ing, like Dii avertite omen, but in < God summon us ' here, there seems to be none.— Ed.
ACT IV. sc. i.] AS YOU LIKE IT 217
OrL How if the kiffe be denide? 76
Rof. Then fhe puts you to entreatie, and there begins
new matter.
Orl. Who could be out, being before his beloued
Miftris ? 80
Rof. Marrie that (hould you if I were your Miftris,
or I (hould thinke my honeftie ranker then my wit
OrL What, of my fuite ?
Rof. Not out of your apparrell, and yet out of your
fuite : 85
Am not I your Rofalindf
OrL I take fome ioy to fay you are, becaufe I would
be talking of her.
Rof Well, in her perfon, I fay I will not haue you.
OrL Then in mine owne perfon, I die. 90
Rof No faith, die by Attorney : the poore world is
almoft fix thoufand yeeres old, and in all this time there
was not anie man died in his owne perfon {videlicet) in
a loue caufe : Troilous had his braines dafti'd out with a
Grecian club, yet he did what hee could to die before, 95
and he is one of the patternes of loue. Leander, he would
haue liu'd manie a faire yeere though Hero had tum'd 97
81-85. In sens. obs. 84, 86. Prose, Pope et seq.
82. thinke... ranker\ thank... rather 90. dW\ doe F,F^. dye F^.
Coll. (MS) ii, iii. 94. Troilous] Fj.
83. of^ out o/QoW. (MS). braims] braine Ff.
82. thinke . . . ranker] Collier (referring to the MS corrector's change to thank
.... rather) : This is said in answer to the question of Orlando how he could possi-
bly be out ? and Rosalind replies that if he were not out, but continued his suit, he
would be more indebted to her honesty, which allowed him to proceed, than to her
wit in disconcerting him. The two misprints were easily made, and the restoration is
exactly to the point White (ed. i) : Strange to say, Collier's reading has found
some favour. For in the alternative supposed by Rosalind, she would have no hon-
esty to thank ! and therefore it is that she says that in that case she should think her
honesty ranker than her wit Dyce (ed. ii) : Mr Collier understands the passage no
more than his corrector.
95. club] Wright : Troilus, in the story of his death as told by Dictys Cretensis,
Dares Phrygius, Tzetzes, and Guido Colonna, was slain by Achilles (' impar congres-
sus Achilli.' — Vei^. jEn. I, 474), either with sword or spear, and the Grecian club is
as much an invention of Rosalind's as Leander's cramp.
96. Leander, he] Those who wish to find other examples of this insertion of the
pronoun may find them in Abbott, § 243.
2i8 AS YOU LIKE IT [act iv. sc i.
Nun; if it had not bin for a hot Midfomer-night, for 98
Tgood youth)he went but forth to wafti him in the Hel-
lefpont, and being taken with the crampe, was drounM, 100
and the foolifli Chronoclers of that age, found it was
Hero of Cellos. But thefe are all lies, men haue died
from time to time, and wormes haue eaten them, but not
for loue. 104
98. had^ bad F,. ners Han. Sing. Coll. (MS) ii, iii, KUy,
99. him'\ Om. Ff, Rowe + . Glo. Wh. ii.
loi. Chr(mocUrs\chronicler5YL coro- loi. it was] it Yian,
102. Ceftos] Seftos Ft
loi. Chronoclers] Capell : If to make his author more witty than there is rea-
son to think he designed to be, was an editor's business, he of Oxford [f. e. Hanmer,
see Text. Notes] may seem to have demean'd himself rightly, .... but the judicious
will hardly allow this ' Chroniclers ' could never be a mistake, nor * was ' a meer
insertion of printers ; coroners, and the phrase recommended, being too well known
to them to suspect an alteration of either for what was certainly not so familiar. It
follows then, if the above observation be just, that they were true to their copy io this
place ; and the Poet will stand acquitted for writing so, if it be consider'd that too
much wit, or wit too much pointed, is not a beauty in comedy ; especially in such
comedy as this, which is simple and of the pastoral kind. M. Mason : I am sur-
prised that Hanmer's just and ingenious amendment should not be adopted as soon as
suggested * Found ' is the legal term on such occasions. . Edwards refers to
Ifam. V, i, 5 : < The crowner hath sat on her, and finds it Christian burial.' Calds-
COTT : In the language of a coroner^s jtuy, the chroniclers of that age, who record
and transmit facts to itosieriiy, found (t. e. stated) it to be Hero. Knight: We are
unwilling to alter the text, but there can be little doubt that Hanmer*s change, per-
haps crottmers, gives the true word. The technical use ot * found ' decides this. We
must accept * chroniclers ' in the sense of coroners. White (ed. i) denounces Han-
mer's change on the same ground as Capell, and as earnestly : < If we can at will
reduce a perfectly appropriate and uncorrupted word of ten letters to one of eight,
and strike out such marked letters as h, /, and e, we may re-write Shakespeare at our
pleasure.' [And yet after these brave words Grant White in his second edition fol-
lows Hanmer. The reason is, I think, that he printed from the Globe Edition, where
the Cambridge Editors in a temporary aberration of mind deserted the sound text of
the Cambridge Edition. The printed text before our eyes always exercises a strong
influence, and from this influence, in the present case, that excellent editor Grant
White did not free himself. — Ed.] Halliwell : " Found * here merely mt2ja&fou$ui
out, discovered, stated. .... The alteration made by Hanmer will not even make good
sense, for though the coroner's jiuy might find a verdict of * drowning,' they could
not have ' found it was Hero of Sestos.' The passage in Hamlet is written in inten-
tional error, and cannot fairly be appealed to in the present discussion. Dyce (ed.
iii) quotes Lettsom: *The word "found" makes for coroners; but the plural num-
ber and the phrase " of that age " tell the other way.' Wright : I h&ve left the old
reading, for there would be only one coroner, and the * chroniclers ' might be consid-
ered to be the jurymen.
ACT IV. sc. i.] AS YOU LIKE IT 219
OrL I would not haue my right Rofalind of this mind, 105
for I proteft her frowne might kill me,
Rof. By this hand; it will not kill a flie : but come,
now I will be your RofcUind in a more comming-on dif-
pofition : and aske me what you will, I will grant it.
OrL Then loue me Rofalind. 1 10
Rof. Yes faith will I,fridaies and (aterdaies,and all.
OrL And wilt thou haue me?
Rof. I, and twentie fuch.
OrL What laieft thou ?
Rof Are you not good ? 115
OrL I hope fo.
Rofalind. Why then, can one defire too much of a
good thing : Come filler, you fhall be the Prieft, and
marrie vs : giue me your hand Orlando : What doe you
fay filler/ 120
OrL Pray thee marrie vs.
CeL I cannot fay the words.
Rof You muft begin, will you Orlando.
CeL Goe too ; wil you Orlando^ haue to wife this Ro-
falindf 125
OrL I will
Rof I, but when?
OrL Why now, as fad as fhe can marrie vs.
Rof Then you muft fay, I take thee Rofalind for
wife. 1 30
OrL I take thee Rofalind for wife.
109. aske mi\ ask Rowe. 129. Rof.] Cel. Anon. (ap. Canu
127. /] Om. FjF^, Rowe i. Ed.).
107. kill a flie] Lady Martin (p. 427) : This rejoinder should, I think, be given
with a marked change of intonation, sufficient to indicate that, notwithstanding all
the wild raillery of her former speech, there is in herself a vein of tenderness that
would make it impossible for her to inflict pain deliberately. We should be made to
feel the woman just for the moment, — before she passes on to her next words, which,
playful as they are, lead her on unawares to what I believe was regarded by her as a
very real climax to this sportive wooing.
1 26-131. I will ... for wife] Lady Martin (p. 428) : It is not merely in pastime,
I feel assured, that Rosalind has been made by Shakespeare to put these words into
Orlando's mouth. This is for her a marriage, though no priestly formality goes with
it ; and it seems to me that the actress must show this by a certain tender earnestness
of look and voice, as she replies, < I do take thee, Orlando, for my husband.' I could
220 AS YOU LIKE IT [act iv, sc. L
Rof. I might aske you for your Commiflion, 132
But I doe take thee Orlando for my husband : there's a
girle goes before the Priest, and certainely a Womans
thought runs before her aftions. 135
Orl. So do all thoughts, they are wing'd.
Rof. Now tell me how long you would haue her, af-
ter you haue poffeft her ?
OrL For euer, and a day.
Rof. Say a day, without the euer: no, no OrlandoyVatn 140
are Aprill when they woe, December when they wed:
Maides are May when they are maides,but the sky chan-
ges when they are wiues : I will bee more iealous of
thee, then a Barbary cocke-pidgeon ouer his hen, more 144
132-135. Prose, Pope et seq. Var. *2I. Thus Lloyd («/. Cam.
133. Bui /] Ff, Rowe + . but, /Cap. Ed.).
Cam. Wh. ii. bul — /Mai. et cet. 137. haue] lave Han.
lhere''s\ There Farmer, Steev. '95, 141. Ihey wed] IheyWe wed Daniel.
never speak these words without a trembling of the voice, and the involuntary rushing
of happy tears to the eyes, which made it necessary for me to turn my head away
from Orlando. But, for fear of discovery, this momentary emotion had to be over-
come and turned off by carrying his thoughts into a different channel. Still, Rosa-
lind's gravity of look and intonation will not have quite passed away — for has she not
taken the most solemn step a woman can take ? — as she continues : < Now tell me how
long,' &c.
133, 134. there's . . . goes] Collier : Alluding to her anticipating what Celia
ought to have said: There's a girl who goes faster than the priest Wright:
Farmer's change is unnecessary, for the relative is only omitted. [For omission of
the relative, see Abbott, § 244.]
140, &c. Fletcher (p. 220) : Rosalind's heart is now at leisure to gratify itself
with another of those conscious contrasts between the imputed capriciousness of her
sex and the steady affectionateness of her own character. We have heard already
her description of feminine weakness and perverseness as exhibited in the season of
courtship ; she now gives us a still more lively one of the same failings as they show
themselves after marriage.
144. Barbary cocke-pidgeon] Fulton [Book of Pigeons^ p. 7) : Shakespeare
was evidently a close observer, if not an actual student, of pigeons. It is difBcult to
avoid the conclusion that he was at heart, if not in practice, a fancier, his intimate
knowledge of them comes out in so many different ways. Thus he alludes to the
mode in which they feed their young [in I. ii, 90, supra ; and again in the present
line we may find a proof], collateral, if not strictly historical, of the great antiquity of
the Barb. Such allusions as these, it is true, only prove a general acquaintance with
the birds ; but when the great poet makes Hamlet say : < But I am pigeon-livered, and
lack gall To make oppression bitter,' he shows a knowledge, however acquired, of the
singular physiological fact that the pigeon, like the horse, has no gall-bladder. Again,
one of his inimitable comparisons is, <As patient as a female dove, When that her
ACT IV, sc. i.] AS you LIKE IT 221
clamorous then a Parrat againft raine, more new-fang- 145
led then an ape, more giddy in my defires, then a mon-
key : I will weepe for nothing, like Diana in the Foun- 147
golden couplets are disclosed.' Now pigeons, unlike poultry, will readily leave their eggs
before hatching, if disturbed ; but very rarely when once the beautiful little < golden '
young claim their care ; then, as the same close observer elsewhere says, even * doves
will peck in safeguard of their brood.* (P. 225) There can be very little doubt that this
pigeon [the Barb] did, as the name implies, come to us originally from the north of
Africa, and was first known as the Barbary pigeon. [I have searched for any inti-
mation that the Barb is of a pre-eminently jealous disposition, but have found none.
Nor is any needed. < Barbary ' of itself implies Oriental watchfulness and jealousy.
Is there left in the world any human trade, profession, or pursuit wherein Shakespeare
is not claimed as a fellow-craftsman ? Did any of us ever think that we should live
to see him hailed as a * pigeon-fancier ' ? — Ed.]
145, 146. new-fangled] Skeat : Fond of what is new, novel. The old sense is
' fond of what is new ' ; see Lovers Lab. L. I, i, 106 [and the present passage], and
in Palsgrave. The final -d is a late addition to the word, due to a loss of a sense of
the old force of -U (see below) ; the Mid. Eng. form is newef angel (4 syllables), fond
of novelty, Chaucer, C. T. 10932. So also Gower, C. A. ii, 273 : * But euery newe
loue quemeth To him, that newef angel is ' » but every new love pleases him who is
fond of what is new. Compounded of newe^ new ; Bnd,f angel, ready to seize, snatch-
ing at, not found in Ang. Sax., but formed with perfect regularity from the basey^if^-,
to take (occurring in Ang. Sax. fang-en, pp. oi fon, contracted form ol fangan, to
take), with the suffix -el ( =>■ Ang. Sax. -<>/), used to form adjectives descriptive of an
agent. This suffix is preserved in modem Eng. 7tntt-ol'=^ont who knows, sarcastically
used to mean an idiot ; cf. A. S. sprec-ol, fond of talking, talkative ; wac-ol, vigrilant.
So also y^M^^/— fond of taking, readily adopting, and newfangled ion^ of taking
up what is new ; whence new-fangle-d, by later addition of d. The suffix -ol, by the
usual interchange of / and r, is nothing but another form of the familiar suffix -er,
expressive of the agent. Thus newf angle '^^ new fang-er.
147. Diana] M alone conjectured that Shakespeare must have had in mind some
well-known conduit, and Whalley discovered what has been generally accepted as
the allusion in Stowe's Survey, where [p. 484, ed. 161 8], in giving a history of the
* Elianor Cross,* or * the great Crosse in West Cheape,* Stowe says : * in the yeer next
following [t. e. 1596] was then set vp a curious wrought Tabernacle of gray Marble,
and in the same an Alablaster Image of Diana, and water conuayed from the Thames,
prilling from her naked brest for a time, but now decayed.' ' Statues,' continues
Whalley, ' and particularly that of Diana, with water conveyed through them to give
them the appearance of weeping figures, were anciently a frequent ornament of foun-
tains. So in The City Match, III, iii : " Now could I cry like any image in a foun-
tain, which Runs lamentations." — [p. 263, ed. Dodsley ; first printed 1639]. Again,
in Rosamond's Epistle to Henry II, by Drayton : " Here in the garden, vrrought by
curious hands, Naked Diana in the fountain stands." ' — [p. 80, ed. 1748]. Halli-
WELL (p. 69) : It should be remembered that the image of a fountain-fig^ure weeping
was an exceedingly conmion one, and that Diana was a favorite subject with the
sculptors for such an object. Wright : If Shakespeare had this image of Diana
[mentioned by Stowe] in his mind, his recollection of it was not strictly accurate.
[It seems to me most unlikely that there is any reference here to the Diana on the
222 AS YOU LIKE IT [act iv. sc. i.
taine,& I wil do that when you are difpos'd to be merry: 148
I will laugh like a Hyen,and that when thou art incUn'd
to fleepe. 1 50
Orl. But will my Rofalind doe fo /
Rof, By my life, fhe will doe as I doe.
OrL O but fhe is wife.
Ros. Or elfe fhee could not haue the wit to doe this :
the wifer, the waywarder : make the doores vpon a wo- 155
mans wit, and it will out at the cafement : fhut that, and
'twill out at the key-hole : ftop that, 'twill flie with the
fmoake out at the chimney.
OrL A man that had a wife with fuch a wit, he might
fay, wit whether wil't ? 1 60
149. thou art"] you are Rowe ii + . 157. ^ twill Jlie] it will fly e F^, Rowe + ,
\^o. fleepe\ weep Theob. conj. Warb. Steev. '85.
Coll. iii. 160. whether\ whither Rowe.
1 55. doores\ doors fast Rowe ii + , Cap. tuU^t ] F,. wilt F^F^ et seq.
Quincy (MS).
Eleanor Cross. And I think Malone in his secret heart thought so too. In his
Second Appendix and in his own edition he was inclined to claim the credit of dis-
covering the allusion, but he afterwards silently resigned it to Whalley. For aught
we can tell, this < prilling ' Diana may not have been a symbol of sorrow ; it was evi-
dently an excrescence, and had no connection with the other Biblical figures around
the Cross. See Appendix, * Date of Composition.* — Ed.]
149. Hyen] Kenrick (p. 69) could discover no * propriety in this allusion ' ; be
knew of ' no animal in nature possessed of the streperous part of risibility ' vigorous
enough * to prevent a drowsy man's going to sleep,' * except man.' Wherefore he
proposes a change, and, like a true-bom Briton, offers * to lay a good bet, if it could be
determined,' that Shakespeare wrote * " laugh like a Hyad^ * To be sure, * a Hyad *
is not a man, but a womatty and to < laugh ' must be interpreted to cry. But apart
from these trifles the simile is assured, because the Hyads < wept so vehemently ' that
they were translated as constellations to the sky. Barclay, in his vindication of
Johnson from Kenrick's attack, proposed (p. 49), as a sarcastic jest, that the text be :
* laugh like a Hoyden, or Hydetiy as he had seen it spelt. Steevens : The bark of
the hyena was anciently supposed to resemble a loud laugh. So in Webster's Duchess
of Malfy^ 1623: *Methinks I see her laughing. Excellent hyena!' — [II, v, p. 223,
ed. Dyce].
150. sleepe] Johnson: I know not why we should read to weep [as in War-
burton's text]. I believe most men would be more angry to have their sleep hindered
than their ^ny interrupted. [Theobald's conjecture, weep is to be found in Nichols's
niust. ii, 331.]
155. make the doores] Steevens: This is an expression used in several mid-
land coimties, instead oi bar the doors. So in Com. of Err. Ill, i, 93: *The doors
are made against you.'
160. wit whether wil't] Johnson : This must be some allusion to a story well
\MjtLt
ACT IV, sc. i.] AS YOU LIKE IT 223
Rof. Nay, you might keepe that checke for it, till you 161
met your wiues wit going to your neighbours bed.
OrL And what wit could wit haue,to excufe that?
Rofa. Marry to fay, fhe came to feeke you there : you
fhall neuer take her without her anfwer,vnlefle you take 165
her without her tongue : 6 that woman that cannot
make her fault her hufbands occafion,let her neuer nurfe
her childe her felfe, for fhe will breed it like a foole. 168
167. occafion^ accusation Han. Sing. \(A, Jke wUL.M like a] sh^U,,M a
Ktly. accusing Coll. (MS) ii, iii. Cap. conj.
known at that time, though now perhaps irretrievable. Steevens: This was an
exclamation much in use when any one was either talking nonsense or usurping a
greater share in conversation than justly belonged to him. So in Decker's SaHrO'
nmstixy 1 602 : * My sweet twV, whither wUt thou f my delicate poetical fury,* &c. [p.
166, ed. Hawkins]. Again, in Heywood^ s lioyaJ ITing : * Captain. I since came to
purchase that Which all the wealth you have will never win you. Bonville. And
what's that, I pray ? Capt. Wit. Is the word strange to you ? Wit. Bon. Whither
wilt thou? Capt. True; Wit will to many ere it come to you' [I, i, p. 18, ed. Sh.
Soc. Steevens quoted, of the above, only the phrases containing the proverb. But I
think the Captain's answer throws some light on the obscure meaning of the phrase ; it
seems as though it were equivalent to saying : * Wit, whither wilt thou go ? Thou art
clearly leaving the present company.' Halliwell adds several other authorities for
the use of the phrase, to which more could be added without increasing our know-
ledge of the meaning. Malone believed the phrase to be the first words of an old
madrigal. See I, ii, 55. — Ed.]
165. answer] Tyrwhitt : See Chaucer, Marchaundes Tale [line 1020, ed. Mor-
ris, where Proserpine assures Pluto that May shall have an answer ready to excuse
any escapade ;] * Now by my modres Ceres soule I swere. That I schal yive hir suffi-
saunt answere. And alle wommen after for hir sake ; That though thay be in any gult
i-take. With face bold thay schul hemself excuse. And here hem doun that wolde hem
accuse. For lak of answer, noon of hem schal dyen. Al had a man seyn a thing
with bothe his yen, Yit schul we wymmen visage it hardily. And wepe, and swere,
and chide subtilly. So that ye men schul ben as lewed as gees.'
166. 6] What rule, if any, guided the compositor in the use of this circumflexed d
it seems almost impossible to discover. Perhaps, as it does not beg^in a sentence, the
lower case seemed too insignificant without some distinction, or perhaps it was that,
unlike Othello, its demerits could not speak unbonneted. Walker {Crit. i, 104) says
that * O * in the forms 0^ my truths o^ my life^ &c. is fi^quently expressed by 6.* As
we see here, in the present instance, the same type is used in the mere exclamation.
It is, however, purely a matter of typography, and very remotely, if at all, connected
with Shakespeare. — Ed.
167. occasion] Johnson: That is, represent her fault as occasioned by her hus-
band. Capell : That cannot make her husband the cause of it Caldecott : That
is, an act done upon his occasions, in prosecution of his concerns. Staunton:
If any deviation is required, we might perhaps, and without departing far &om the
text, read, * her husband's confusion.^ Keightley : I find I have followed Hanmer,
/
224 AS voir LIKE IT [act iv, sc. i.
Orl. For thefe two houres Rofalinde^\ wil leaue thee.
Rof. AlaSjdeere loue,I cannot lacke thee two houres. 170
OrL I muft attend the Duke at dinner, by two a clock
I will be with thee againe.
Rof. I, goe your waies, goe your waies : I knew what
you would proue, my friends told mee as much, and I
thought no leffe : that flattering tongue of yours wonne 175
me : 'tis but one caft away, and fo come death : two o'
clocke is your howre.
OrL I, fweet Rofalind.
Rof. By my troth, and in good eameft, and fo God
mend mee, and by all pretty oathes that are not dange- 180
rous, if you breake one iot of your promife,or come one
minute behinde your houre, I will thinke you the mod
patheticall breake-promife, and the moft hollow louer, 183
176. <?»] £?*/>!' Rowe + . (fthe?i\^y, \%Z' patheticall'\ atheistical Waib.
'85. Jesuitical Grey.
but doubt if I was justified in so doing. Wright : That is, an occasion against her
husband ; an opportunity for taking advantage of him.
168. In Kemble's Acting Copy Rosalind here sings the song from Lcv^s Labour
Lost : * When daisies pied,' &c.
• 170. Fletcher (p. 221) : How deliciously after all this acted ley'ity and mischiev*
ousness, comes immediately this fond exclamation !
171, 176. two a . . . two o'] Let us note this variation in spelling, a compositor's
mere vagary, within half a dozen lines, and let our souls be instructed. — Ed.
176. come death] It is not impossible that there is here just an allusion to that
popular song of Anne BuUen's : ' Death, rock me asleep. Bring me to quiet rest,'
&c. It sounds to me like some quotation or allusion, whose popularity excuses, or at
least lightens, the charming exaggeration. — Ed.
177. your howre] Lady Martin (p. 429): This is to be *full of tears;' and
when she has put a pang into her lover's heart by this semblance of reproachful grief,
she suddenly floods it with delight by turning to him her face radiant with smiles,
and saying, * Two o'clock's yoiu- hour !' This is to be * full of smiles,' and the charm
so works upon him that we see he has lost the consciousness that it is the boy Gany-
mede, and not his own Rosalind, that is before him, as he answers, *Ay, sweet Rosa-
lind.' And she, too, in her parting adjuration to him, comes nearer than she has ever
done before to letting him see what is in her heart.
183. patheticall] Heath : The meaning is. That of all break -promises he best
counterfeits a real passion. I suppose the old salvo of faithless lovers : * perjuria ridet
amantum,' maintained its ground even in Shakespeare's time. Talbot : We now use
pitiful in a like sense. Whiter (p. 57) : * Pathetical,' in its first sense, means yW/
of passion and sentiment. In a ludicrous sense, a < pathetical break -promise ' is a
whining, canting, promise-breaking swain. Shakespeare, perhaps, caught this word
from Lodge's Novell where Phoebe's indifference to Montanus is described : *■ But she,
ACT IV, sc. i.] AS VOLT LIKE IT 225
and the moft vnworthy of her you call Rofalindey that
may bee chofen out of the groffe band of the vnfaith- 185
full : therefore beware my cenfure, and keep your pro-
mife.
OrL With no leffe religion, then if thou wert indeed
my Rofalind : fo adieu.
Rof. Well, Time is the olde luftice that examines all 190
fuch offenders, and let time try : adieu. Exit.
Cel. You haue fimply mifusM our fexe in your loue-
prate : we muft haue your doublet and hofe pluckt ouer
your head, and fhew the world what the bird hath done
to her owne neaft. 19S
Rof. O coz, coz, coz : my pretty little coz, that thou
didft know how many fathome deepe I am in loue : but
it cannot bee founded : my affeftion hath an vnknowne
bottome,like the Bay of Portugall. 199
191. try\ try you Coll. (MS). 191. Scene III. Pope, Han. Warb.
measuring all his passions with a coy disdaine, and triumphing in the poore shep-
heard's patheticall humours.' &c. Wright: Cotgrave explains *Pathetique' aa
Pathetically passionate ; persuasiue, afTection-moving. Allen (MS) : Rosalind
merely misplaces the epithet (by a kind of hypallage) ; ' pathetical ' properly belongs
to < lover/ as if she had said : ' I will think you the most passionate — not lever as now
—but break -promise.'
183. breake -promise] * At lovers' perjuries They say Jove laughs.' — Rom, 6*
Jul. II, ii, 93.
190. olde lustice] Steevens : So in Tro. 6* Cress, IV, v, 225 : * that old com-
mon arbitrator, Time, Will one day end it.'
192. misus'd] MoBERLY: Completely libelled our sex. Wright: That is,
abused. On the other hand, abuse in Shakespeare's time was equivalent to the mod-
em 'misuse.'
195. neast] Steevens: So in Lodge's Rosalynde : <I pray (quoth Aliena) if
your robes were off, what mettal are you made of that you are so satjrrical against
women? is it not a foule bird that defiles his own nest?'
199. Portugall] Wright: In a letter to the Lord Treasurer and Lord High
Admiral, Ralegh gives an accotmt 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 headland 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. Neil : Perhaps this
simile ought to be taken as a time-mark of the production of the play. The history
of Portugal engaged a good deal of attention between 1578 and 1602. On the 4th
IS
226 AS YOU LIKE IT [act iv, sc l
CeL Or rather bottomlefle, that as &fl as you poure 200
afie£tion in, in runs out
Rof, No, that fame wicked Baftard of VenuSy that was
begot of thought, conceiuM of fpleene, and borne of
madnelTe, that blinde rafcally boy, that abufes euery
ones eyes,becaufe his owne are out, let him bee iudge, 205
how deepe I am in loue ; ile tell thee Aliena, I cannot be
out of the fight of Orlando : lie goe finde a (hadow, and
figh till he come.
Cel. And lie fleepe. Exeunt 20()
201. m, m] in, it F, et seq. 207. Orlando] Orland F,. Orlanda F^.
J06. iU teU'\ I tell Cam. Edd. conj. 209. lie] Pit go Ktly.
of August, 1578) the destructive battle of Alcazar, on which George Peele composed
a play published in 1594, was fought, and Don Sebastian, the king, was lost 00 the
field In 1589, before the public exultation at the defeat of the Spanish Armada
had subsided, a band of adventurers, 21,000 in 180 vessels, engaged in an expedition
into Portugal, under the command of Sir Francis Drake and Sir John Norris, in which
the Earl of Essex also had a share. Instead of returning with the bays of victory,
1 1,000 persons perished ; of the 1 100 gentlemen volunteers, only 350 returned to their
native country. They were embayed in its [sic] unknown bottom. In Der Bestrafte
Brudermcrdf founded, it is believed, about 1598, on an early draught of Shakespeare's
Hamlet, the Prince of Denmark suggests ironically to his uncle-£EUher, < Send me off
to Portugal, so that I may never come back again^ In 1602 there appeared at Lon-
don The true History of the late and lamentable Adventures of Don Sebastian, King
of Portugal, on which Massinger founded his play. Believe as you List, a drama only
recently discovered and printed, whose title is a sort of echo of the play before us.
A Portingal Voyage is noticed also as a memorable thing in Webster's Northward-
Ho! published in 1607, but acted some time before that date.
203. thought] This is melancholy, according to Steevens, Malone, Caldecott, and
Dyce. It is also moody reflection, according to Halliwell. Or with Schmidt we can
take it as applied to love, * a passion bred and nourished in the mind.' It is hardly
to be taken as care, anxiety, the sense in which Hamlet uses it m * sicklied o'er with
the pale cast of thought,' or as in < take no thought of the morrow.' — ^£d.
203. spleene] Schmidt : That is, caprice ; a disposition acting by fits and starts.
Wright : A sudden impulse of passion, whether of love or hatred.
206. ile tell thee] Dyce (ed, iii) : « Qu, " I tell thee" ? This blundei, if it be
one, is not uncommon.'^-L£TTSOM. It is not a blunder. [See Text Notes, where
Lettsom is anticipated.]
207. shadow] Steevens : So in Afacb. IV, iii, i : < Let us seek out some desolate
shade, and there Weep our sad bosoms empty.'
K.
ACT IV, sc. ii.] AS YOU LIKE IT 23/
Scena Secunda.
Enter laques and Lards ^ Forrejlers.
lag. Which is he that killed the Deare ?
Lord, Sir, it was I,
lag. Let's prefent him to the Duke like a Romane
Conquerour, and it would doe well to fet the Deares 5
horns vpon his head, for a branch of viflory ; haue you
no fong Forrefter for this purpofe ?
Lord. Yes Sir,
lag. Sing it : 'tis no matter how it bee in tune^ fo it
make noyfe enough. lo
Muficke, Song.
What/hall he haue that kild the Deare ?
His Leather skiny and homes to weare :
Then Jing him honuy the rejljhall beare this burthen ; 14
Scene IV. Pope, Han. Warb. Johns. 8. Lord.] For. Rowc + , Cam. 2. F,
Scene continued, Theob. Cap. 2 Lord. Mai.
3. Lord.] I. F. Cap. I Lord. Mai. 14. For Text. Notes, see p. 231.
A Lord. Cam.
1. Johnson : This noisy scene was introduced to Bll up an interval which is to rep-
resent two hours. [See note on Rosalind's first speech in next Scene.] Gervinus
(p. 388) : This is characteristic of idle rural life, where nothing of more importance
happens than a slaughtered deer and a song about it. [Gervinus presumes also to
call this scene * a stop-gap.' It is all very well for Dr Johnson to say that this scene
is merely to fill up an interval : from him, we accept all notes and rate them as they
deserve, but the learned German should have remembered that < That in the captain's
but a cholerick word, Which in the soldier is flat blasphemy.' — Ed.]
2. Flower {Memorial Theatre Editim) : On the occasion of the first representa-
tion of As YoM Like It in the Memorial Theatre, April 3Cth, 1879, a fallow deer was
carried on the stage by the foresters [in this scene] which had been that morning shot
by H. S. Lucy, Esq., of Charlecote Park, out of the herd descended firom that upoo
which Shakespeare is credited with having made a raid in his youth. The deer is
now stuffed, and carried on whenever the play is acted in Stratford.
4-7. Neil: Sir Thomas Elyot, in 77n Govemowr^ I53if Mys, regarding the hmit-
ing of red deer and fallow : ' To them which in this huntynge do showe moste prowess
and actyvyty, a garlande or some other lyke token to be given in sign of victory, and
with a joyful manner to be broughte in the presence of h3rm that is chiefe of the com-
pany there, to receive condigne prayse for their good endeavour.' — Bk. I, chap, xriii.
I2y 13. M ALONE: Shakespeare seems to have formed this song on a hint afibrded
228 AS YOU LIKE IT [act tv, sc. u.
[the rest shall beare this burthen]
by Lodge's Rosalynde : * What newes, 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.'
14. In the arrangement of this Song, Rowe and Pope followed the Folio, and
their < sagacity ' in so doing was sarcastically pronounced by Theobald * admirable.'
* One would expect,' he continues, in a tone which was intended to be very bitter,
' when they were Poets, they would at least have taken care of the Rhymes, and not
foisted in what has Nothing to answer it. Now where is the Rhyme to ** the rest
shall bear this Burthen " ? Or, to ask another Question, where is the sense of it ?
Does the Poet mean that He, that kill'd the Deer, shall be sung home, and the Rest
shall bear the Deer on their Backs ? This is laying a Burthen on the Poet, which
We must help him to throw off. In short, the Mystery of the Whole is, that a Mar«
ginal Note is wisely thrust into the Text ; the Song being design'd to be sung by a
single Voice, and the Stanza's to close with a Burthen to be sung by the whole Com-
pany.' And so Theobald printed it < The rest shall bear this burthen ' was placed
as a stage-direction in the margin ; and then to show that he too was a Poet he thus
patched and pieced out the lines : < Then sing him home : take thou no scorn || To
wear the horn, the horn, the horn.' Hanmer, Warburton, and Johnson followed him,
except that Hanmer, in line 18, read : *And thy own father bore it.' Johnson re-
printed Theobald's note ' as a specimen,' he said, * of Mr Theobald's jocularity, and
of the eloquence with which he recommends his emendations ;' but Johnson adopted
Theobald's text nevertheless. Capell remodelled the whole Song thus, wherein < I.
V.' and < 2. V.' stand for First and Second Voice respectively, and < both ' means both
voices :
1 . V. What shall he have, that kUVd the deer f
2. V. His leather skin, and horns to wear.
I. V. Then sing him home .^ —
both.
Take thou no scorn
to wear the horn, the lusty horn
it was a crest ere thou wast bom .•—
1. V. Thy father's father wore it;
2. V. And thy father bore it .•—
cho.
The hem, the horn, the lusty horn,
is not a thing to laugh to scorn.
Capell suggested that if line 18 * should be perfected ' we might read : <Ay and thy
father,* &c., or *Ay and his father bore it,' * meaning his father's father's father ; which
makes the satire the keener, by extending the blot to another generation.' < Cho.'
means the whole band of foresters, ' Jaques and all.' However much Steevens might
laitgh at Capell and his crabbed English, and Dr Johnson say of him, * Sir, if he had
come to me, I'd have endowed his purposes with words,' there can be no doubt that
Capell's text had deservedly great influence with both of these two editors in their
Variorum editions. (Indeed, it is scarcely too much to say that to Theobald and to Ca-
pell, more than to any other two editors, is due the largest share of the purity of Shake-
speare's text to-day.) Accordingly, in the Variorum of 1773 the lines of the Song were
numbered I and 2, as Capell had numbered them, but the imitation was not carried so
ACT IV, sc. ii.] AS YOU LIKE IT 229
[the rest shall beare this burthen]
far as to add I. V. or 2. V., and < The rest shall bear this burthen ' was retained in the
margin, whereas, as we have seen, Capell omitted it altogether. In the next Vario«
rmn, 1778, Capell's reading was silently adopted in line 15 : * To wear the horn, the
lusty horn/ This, however, was rejected by Malone in 1790, and the text of the
Folio substantially retained, except that *■ The rest,* &c. was inserted as a stage-direc-
tion, I. and 2. as given by Capell were adopted, and before the last two lines was pre-
fixed *AIV This arrangement Steevens followed in his own edition of 1793 ; and Bos-
well also in Malone's Varionmi of 182 1. In the latter edition Boswell has the follow-
ing : * In Flayford's Musical Companion^ 1673, where this is to be fotmd set to music,
the words *' Then sing him home " are omitted. From this we may suppose that they
were not then supposed to form any part of the song itself, but spoken by one of the
persons as a direction to the rest to commence the chorus. It should be observed,
that in the old copy the words in question, and those which the modem editors have
regarded as a stage-direction, are given as one line.' Knight, the next critical editor
(Caldecott confessedly followed the Folio), omitted this line (line 14) altogether, lines
12 and 17 were numbered i, and lines 13 and 18 were numbered 2, and to line 19
was prefixed 'All.' Knight's note is as follows : ' The music to this " song " ' [which
is here reprinted from Knight at the end of this note] ' is from a curious and very rare
work, entitled CcUch that Catch can ; or a Choice Collection of Catches, Rounds, 6f*c,,
collected and published by John Hilton, Batch, in Musicke, 1 652; and is there called
a catch, though, as in the case of many other compositions of the kind so denomi-
nated, it is a round, having no catch or play upon the words, to give it any claim to
the fonner designation. It is written for four bases, but by transposition for other
voices would be rather improved than damaged. John Hilton, one of the best and
most active composers of his day, was organist of St Margaret's, Westminster. His
name is affixed to one of the madrigals in The Triumphs of Oriana, 1601, pre-
viously to which he was admitted, by the University of Cambridge, as a Bachelor in
Music. Hence he was of Shakespeare's time, and it is as reasonable to presume as
agreeable to believe that a piece of vocal harmony so good and so pleasing, its age
considered, formed a part of one of the most delightful of the great poet's dramas.
In Hilton's round the brief line, ** Then sing him home," is rejected. The omission
was unavoidable in a round for four voices, because in a composition of such limit,
and so arranged, it was necessary to give one couplet, and neither more nor less, to
each part But it is doubtful whether that line really forms part of the original text,
[where it is] printed as one line without any variation of type. Is the whole of the
line a stage-direction ? " Then sing him home " may be a direction for a stage pro-
cession. Mr Oliphant, in his useful and entertaining Afusa Madrigalesca, 1837,
doubts whether the John Hilton, the author of the Oriana madrigal, could have
been the same that subsequently published Catch that Catch can, as well as another
work which he names. This is a question into which we shall not enter, our only
object being to g^ive such music, as part of Shakespeare's plays, as is supposed to have
been originally sung in them, or that may have been introduced in them shortly after
their production.' Collier agrees with Knight that the whole of line 14 is clearly
only a stage-direction, printed by error as a part of the song in the old copies, but
instead of omitting it he places it in the margin, and has the following note : * ** Then
sing him home " has reference to the carrying of the lord, who killed the deer, to the
Duke ; and we are to suppose that the foresters sang as they quitted the stage for
their " home " in the wood. '< The rest shall bear this burden " alludes to the last six
239
AS YOU LIKE IT
[act IV, sc iu
[the rest shall beare this burthen]
lines, which are the burden of the song.' Dyce in his first edition says : ' Much dis-
cussion has arisen whether these words [line 14] are a portion of the song or of the
stage-direction. It is a question on which I do not feel myself competent to speak
with any positiveness.' Accordingly, Dyce prints the line in the margin, in smaller
tjrpe merely. In his two later editions he has no note, except the remark that Grant
White altered * Then ' to They. Grant White divided the song into two sUnzas
of four lines each, and marked them I and II ; line 14 appears as a stage-direction
with * Then,' as has just been noted, changed to They. At the end, instead of ' Exeunt,'
he reads : [* They bear off the deer^ s%nging.^'\ In his first edition, after giving his
reasons for believing line 14 to be a stage-direction, which are the same as those
advanced by preceding editors, he 9x^ : < '< Then sing him home '* has reference to
Jaques's suggestion to present the successful hunter to the Duke ** like a Roman con-
queror " ; for the song was *' for this pmpose." That there is an alternation of two
lines of s(^ with two of chorus or burthen, the latter being in both cases lusty lines
about the lusty horn, no musician or glee-singer, and it would seem no reader with an
ear for rhythm, can entertain a doubt '< Then " in the original stage-direction seems
plainly a misprint for they.^ Staunton prints only < The rest,' &c. in the margin as
a stage-direction. ' We rather take,' he says, < " Then sing him home " to form the
burden, and conjecture it ought to be repeated after each couplet' Haluwell %k^ :
< There can be little doubt that the greater part of this song, in fact, the last six lines,
was originally intended to be sung in chorus, Jaques being indifferent to the tune, *< so
it make noise enough," ' wherefore Halliwell divides line 14 after *• beare,' thus keep-
ing up the rhyme to < weare ' ; places < This burthen ' in a line by itself; and assigns
the rest to be sung by the whole company. He claims for this arrangement that it
< seems on the whole more likely to be correct than considering any portion of the line
as a stage-direction.' Barron Field (Sh. Soc. Papers^ 1847, iii, 135) was the first,
I think, to suggest that < This burthen ' should be printed by itself, but then he said it
should be in a marginal note, wherein his treatment is slightly different from Halli-
well's. He also suggested ^Men sing him home,' instead of < They.'
I have thus given all, I think, of the diverse textual arrangements of this song.
Subsequent editors have ranged themselves under one or the other leader as best
suited their fancy. The majority, however, agree in holding < Then sing him home '
as part of the song, and ' The rest shall beare this burthen ' as a stage-direction ; which
is also the belief of Roffe (p. 12) and of the present £d.
^
i
w-jijj I I'll
What thali he hare diat kiU'd the deer T His leath • er skin, and homa to wear.
Xake thou no scorn to wear the horn. It was
Thy & - ther's&'ther bore
^^1
r i r V ir rir
it. And thy fa - ther wore it.
I
The horn, tfie horn, tiie his - ty horn Is not a diing to laugh to tcora.
ACT IV, SC it]
AS YOU LIKE IT
Take thou nofcorne to we are the home^
It was a crejl ere thou wajl borne ^
Thy fathers father wore ity
And thy father bore ity
The homey the home, the lujly home^
Is not a thing to laugh to f come.
131
IS
Exeunt.
20
14. Om. Knt In margin, Coll. Wh.
Dyce, Huds.
the... burthen] In margin, Theob.
+ , Steev. Mai. Sing. Sta. Clke, Ktly,
Rife.
14, 15. Then...fcome] As one line,
Theob. Han. Warb. Johns. As two
lines, Steev. '85.
15. to... home] One line, reading To
wear the h&my the Jk^m, the horn Theob.
Han. Warb. Johns. One line, reading To
wear the hom^ the lusty horn Steev. *85.
18. thy] thy own Han.
19. The] All. The Mai. Steev. '93.
19, 20. Marked as * Burthen,' Wh. ii.
19. luily] luftly F,.
i8t Time.
^
St
jlj JUJ I J^J IP
m
^^ \ ^-^AA JU. JjIj jlj J U J I J . J I f II
^ ^ I j j lj^ f\} [' ^ l (^
14. burthen] See III, ii, 242.
15. home] Coleridge (p. 108) : I question whether there exists a parallel instance
of a phrase that, like this of ' horns,' is universal in all languages, and yet for whidi
no one has discovered even a plausible origin.
232 AS YOU LIKE IT [act iv. sc. iii.
Sc€^na Tertia.
Enter Rofalind and Celia,
Rof. How fay you now, is it not part two a clock ?
And heere much Orlando.
Cel. I warrant you, with pure loue,& troubled brain.
Enter Siluitis, 5
He hath t'ane his bow and arrowes, and is gone forth
Scene V. Pope, Han. Warb. Johns. much Orlando I Steev. '85. and ker^s
Scene continued, Theob. no Orlando. "Rxtson^QmiicyiyiS), And
2. a clock"] o'clock Theob. here — muchy Orlando / John Hunter.
3. ^»^... Orlando] / wonder much 4-7. Pilose, Pope et seq. (except CoU.).
Orlando is not here, Pope + . and how 6. l^ane"] ta^ne F^. id en Rowe.
much Orlando comes f Cap. and here^s 6, 7. forth To] forth — to Cap. et seq.
I. After the remark upon the * noisy scene/ which has just passed (see the first
note in preceding scene), and which was introduced to fill up the interval of two
hours, Johnson continues : This contraction of time we might impute to poor Rosa-
lindas impatience but that a few minutes after we find Orlando sending his excuse.
I do not see that by any probable division of the Acts this absurdity can be obviated.
[This remark, if I understand it, and I am not sure that I do, is an undeserved slur
on Shakespeare's dramatic art. To defend any dramatist, let alone Shakespeare,
against the charge of absurdity in representing the passage of time by the shifting of
scenes, is in itself an absurdity which no one, I think, would consciously commit.
As this comedy is performed now-a-days, the < noisy scene' is fi^uently omitted
altogether, and this present scene opens in *■ another part of the Forest ;' this of itself
is sufficient to indicate a flight of time, and no spectator notes an < absurdity.' How
much more pronounced is this flight when a whole scene intervenes, with new cha-
racters and wholly new action. It is to be feared that, in very truth, this Song pene-
trated to Dr Johnson's deaf ears only as < noise,' and that, furthermore, Shakespeare's
art in dramatic construction was in general so exquisitely concealed that when once
it stood revealed with unmistakable plainness, Dr Johnson resented the attempt to
sway his mood as a personal affront. — Ed.]
3. heere much] Whalley : We have still this use of < much,' as when we say,
speaking of a person who we suspect will not keep his appointment, <Ay, you will be
sure to see him much P Malone : So the vulgar yet say, < I shall get much by that,
no doubt,' meaning that they shall get nothing. Holt White: It is spoken iron-
ically. GiFFORD, in a note on < Much wench, or much son I' — Every Man in his
Humour y IV, iv, p. 117, says ' Much !' is an ironical exclamation for little or none^ in
which sense it frequently occurs in our old dramatists. Thus in Heywood's Edward
IV: *'Much duchess I and much queen, I trow !' [On p. 40 of Edward IV^ ed. Sh.
Soc. there is < Much queen, I trow I' but I cannot find the line as given by Gifibrd,
who is usually accurate. — Ed.]
4-7. Walker (CW^. i, 16) : These lines are printed as verse in the Folio; which,
ACT IV, sc. iii.] AS YOU LIKE IT 233
To fleepe : looke who comes heere. 7
SU. My errand is to you,faire youth,
My gentle PhebeydXA bid me giue you this :
I know not the contents, but as I gueffe 10
By the fterne brow, and wafpifli aftion
Which fhe did vfe, as fhe was writing of it,
It beares an angry tenure ; pardon me,
I am but as a guiltleffe meffenger.
Rof. Patience her felfe would ftartle at this letter, 15
And play the fwaggerer, beare this, beare all :
Shee faies I am not faire,that I lacke manners.
She calls me proud, and that fhe could not loue me
Were man as rare as Phenix : 'od's my will, 19
9. did'\ Mai. Cald. KdI, Coll. i, Wh« 13. tenure\ tenour Theob. et seq.
i, Dyce i. Om. Ff et cet 16. After reading the letter. Han.
10. kfuruT^ knew Ff.
coupled with their being followed by a dialogue, also in verse, inclines me to think
Shakespeare meant them as such. [Walker makes no new division of the lines,
but aids the rhythm by reading ' warrant ' as wart'nt^ and contracting ' and is ' to
aiK/'x.] CoLUER (ed. ii) : [Lines 4 and 6] are underscored in the Folio (MS) as
if they were a quotation, and they read like it Celia applied them to Orlando, who
had nothing to do with * bows and arrows ' that we are anywhere informed. [In line
6] < is ' was erased by the old annotator. [Capell introduced a dash after ' forth,' in
line 6, and has been followed in every subsequent edition, I think, except the Cam-
bridge, the Globe, Wright's, and White's second edition.]
8. faire youth] Abbott (§510), considers an interjectional line, and thus scans:
' Look, wh6 I comes h^re ? | My tfr | rand (s | to y6u || Fair y6uth, || My g^nt | le
Ph^ I be bfd I me give | you this.'
9. did bid] Keightley : Editors, myself included, follow F,, and omit < did.' I
think we are wrong. [We are, therefore, to infer that Keightley would here pro-
nounce ' Fhebe ' as a monosyllable, wherein he has Collier for company. It is not
impossible that it may have been the lover's pet-name, but where it occurs farther on,
in V, iv, 25, it seems wholly out of place &om Rosalind. I think it should be pro-
nounced uniformly as a dissyllable. — Ed.]
12. writing of it] For other instances of this construction of verbal nouns, see, if
need be, Abbott, § 178.
14. as] Abbott, §115: As was used almost, but not quite, redundantly after
< seem ' (as it is still after ' regard,' < represent ') : 'To prey on nothing that doth seem
as dead,' — [line 123, below], and even after < am' [as here, where it means] : ' I am
here in the character of^ &c.
18. calls . • . and that] Abbott, $ 382 : As in Latin, a verb of speaking can be
omitted where it is implied by some other word, as here : * She ccMs me proud, and
(says) that,' &c.
19. man . . . Phenix] Walker in his Article (LI, Vers. p. 243) on the plural of
Substantives ending in a plural sound which are found without the usual addition of t
234 ^S you LIKE IT [act iv, fic. Hi.
Her loue is not the Hare that I doe hunt, 20
Why writes fhe fo to me ? well Shepheard, well,
This is a Letter of your owne deuice.
Sil. No, I proteft, I know not the contents,
Phebe did write it.
Rof. Come, come, you are a foole, 25
And tum'd into the extremity of loue.
20. doe] did Ff, Rowe. 26. turned into the] turned in the or
25. you are] you're Pope + , Dyce iii, turned so in the Cap. conj.
Huds. the extremity] th* extremity Pope
-f , Dyce iii, Hud&.
or eSf instances (p. 266) < words ending in jt,' and cites the present line thus : * Were
men as rare as Phoenix/ which last word he evidently thinks should be thus
printed : Phoenix' as an indication of the plural. Lettsom's foot-note is as follows :
< Walker does not say from what edition he took the reading men. I find it in a
small edition published by Tilt in 1836, professedly ^* from the text of the corrected
copies of Steevens and Malone/' and therefore I suppose it is the reading of what
used to be called the received text. The Four Folios, Pope, Hanmer, Theobald,
Capell, Var. 1821, Knight, and Collier all read ^ man," but the sense seems to demand
men,* Lettsom might have added, as reading < man,* Rowe i, ii, Warburton, Johnson,
the Var. 1773, 1778, 1785, Steevens, 1793, Malone, 1790, Rann, Var. 1803, 1813,
Harness, Singer's First Edition, Chalmers, Campbell,— all except Hazlitt, 1 85 1, who
reads men. In Hazlitt I am inclined to think that the reading is by no means acci-
dental. — Ed.
19. Pheniz] Halliwell: 'That there is but one Phoenix in the World, which
alter many htmdred years bumeth it self, and from the ashes thereof ariseth up another,
is a conceit not new or altogether popular, but of great Antiquity.'— Brown's Vulgar
Errors [Book III, chap, xii, p. 144, ed. 1672].
19. 'od's my will] Are not all these oaths, in which Rosalind indulges with
marked freedom, her attempts to assume a swashing and a martial outside ? Before
she donned doublet and hose she uttered none. < Faith ' was then her strongest
affirmation, but from the hour she entered Arden we hear these charming little oaths
from Ganymede. This, among others, is a reason, I think, why we should not adopt
Spedding's pulpiter in place of * Jupiter ' in III, ii, 154; or Collier's * Love, love * in
lieu of * Jove, Jove * in II, iv, 60. — Ed.
24. write it] Mason (p. 87) : The metre of this line is imperfect, and the sense
of the whole ; for why should Rosalind dwell so much upon Phebe's hands unless
Silvius had said something about them ? I have no doubt but the line originally ran
thus : < Phebe did write xX.'^with her own fair hand.* And then Rosalind's reply will
naturally follow. Cowden-Clarkb : Mason's conjecture is very plausible. Some
allusion to the whiteness and delicacy of Phebe's hand seems requisite to accomt for
Rosalind's abuse of its colour and texture.
26. tum'd into] Capell : Had Silvius been at first a cool lover, as now a hot one,
the word * tum'd' had been proper; but as this was never the case, we must either
put a sense upon < tum'd ' that is not common, to wit, got or fall'n ; or else suspect a
cormption, and look out for amendment: [See Text. Notes] both [of these are]
ACT IV, sc. ui.] AS YOU LIKE IT 235
I faw her hand, fhe has a leatheme hand 27
A freeftone coloured hand : I verily did thinke
That her old gloues were on, but twas her hands:
She has a hufwiues hand, but that's no matter: 30
I fay fhe neuer did inuent this letter,
This is a mans inuention,and his hand.
Sil, Sure it is hers.
Rof. Why,tis a boyfterous and a cruell ftile,
A ftile for challengers : why, fhe defies me, 35
Like Turke to Chriftian : vvomens gentle braine
Could not drop forth fuch giant rude inuention,
Such Ethiop words, blacker in their effeft
Then in their countenance : will you heare the letter ?
Sil. So pleafe you, for I neuer heard it yet : 40
Yet heard too much of Phebes crueltie.
Rof. She Phebes me : marke how the tyrant writes. 42
29. on'\ one F,Fj. ct cet.
36. vvomens] Ff,Cam. woman^s Rowe 37. giant rude] giant-rude Var. *2I.
within the bounds of probability, but the first of them seems the most eligible : for
'tmned' will signify-^ead-turned ; and then Rosalind's meaning will be, — Come,
come, you're a simpleton, and the violence of your love has tum'd your head.
Wright : That is, brought into. Compare, for this sense of ' turn,' Tkvo Gent, IV,
iv, 67 : <A slave, that still an end turns me to shame.' The Temp, I, ii, 64 : < O
my heart bleeds To think o' the teen that I have tum'd you to.' Twelfth N. II,
y, 224 : < It cannot but turn him into a notable contempt' Cor, III, i, 284 : < The
which shall turn you to no further harm.' Hence Capell's emendations are unneceS'
sary.
28. freestone coloured] Wright : Of the colour of Bath brick. Neil : StnO-
ford-on- Avon is situated on the Oolite strata, which are much used in building because
they are able to be worked freely or easily by the mason. This, therefore, is a glover 's-
son-like descriptive phrase for a somewhat brownish-yellow hand, readily suggested
to a Warwickshire man.
32. his hand] Is the key to the masculine character of Phebe's handwriting,
which evidently surprises Rosalind, to be found in the emphatic * waspish action '
with which Silvius says she wrote the letter ? Like Hamlet's nervous gesture when
he writes : * So, uncle, there you are !' — Ed.
34, &c. Phebe's letter, apart from the deception which is practised on Silvius, is, I
think, charming, pace Hartley Coleridge ; Rosalind is therefore forced into this furious^
exaggerated abuse of it, and into fictitious quotations from it, in order to arouse in
Silvius a proper degree of manly indignation against Phebe, and to make him, poor
tame snake, believe in her cruelty. — Ed.
37. giant rude] For many more such compounds see Abbott, $ 43a
39. countenance] For the sake of exactest rhythm this is to be pronoonced as a
dissyllable. See Abbott, § 468,
>36 AS YOU LIKE IT [act iv, sc. iii.
Read. Art tJiou god, to Sheplurd turned} 43
That a maidens heart hath burtid.
Can a woman raile thus ? 45
Sil. Call you this railing ?
Rof. Read. Why y thy godhead laid a part^
Wat^Jl thou with a wotnans heart ?
Did you euer heare fuch railing ?
Whiles tlie eye of man did wooe me^ $0
That could do no vengeance to me.
Meaning me a beafl.
If the fcorne of your bright eine
Haue power to raife fuch loue in mine^
Alacke, in me^ whatflrange effell 55
Would they worke in milde afpeSl ?
Whiles you chid me , / did loue ,
How then might your praiers moue ?
He that brings this loue to thee^
43, 47. Read.] Reads. Rowe et seq. 47. a part] apart Ff.
43. god] a god KUy. 48. War'ft] Waft F^.
Shepherd] fheapheard F,. 52. me'\ nuy Theob. Warb.
43,44. tum'd?...bum'd.] tum^d^,., 53. eine] ^,yii/ Rowe.
burned? Rowe et seq. 57. chid] Mtic^ Rowe.
43, 47. Read] This imperative mood here betrays the stage copy. — ^Ed.
43. Hartley Coleridge (ii, 144) : Fhebe is no great poetess. It may be
remarked in general that the poetry, introduced as such by Shakespeare, is seldom
better than doggerel. A poem in a poem, a play in a play, a picture in a picture, the
imitation of flageolet or trumpet in pianoforte music, are all departures fixnn legitimate
art ; and yet how frequent in our old drama was the introduction of play within play !
Sometimes, as in Bartholomew Fair, Tke Knight of the Burning Pestle^ The Tam-
ing of the Shrew, and others, the main performance is as it were double-dramatised ;
an expedient which Moore, in his Lalla Rookh, has transferred to narrative. But
more frequently the episodic drama is more or less subservient to the plot, as in Ham'
let. The Roman Actor, &c. ; or purely burlesque, as in Midsummer Night^s Dream,
51. vengeance] Johnson : Here used for mischief
52. That is, of course, meaning that I am a beast Theobald, by his conmia after
< me,' made it possible to suppose that Rosalind calls Fhebe a beast — Ed.
54. Haue] Abbott, § 412 : The subjunctive is not required, and therefore ' have '
is probably plural here.
56. aspect] Schmidt paraphrases this as look, air, countenance, but Wright is
clearly more correct in interpreting it as ' an astrological term used to denote the
favourable or unfavourable appearance of the planets,' for which interpretation Schmidt
furnishes many examples. ' The accent,* adds Wright, < is always on the last syllable.'
59. loue] Walker (Crit. i, 295) marks this word as suspicious, but does not sug-
gest any in its room ; he merely says : *Love occurs three other times in the course
ACT IV. sc. iii.] AS YOU LIKE IT 237
Little knawes this Laue in me : 60
And by him fe ale vp thy minde^
Whether that thy youth and kinde
Will thefaithfidl offer take
Of mey and all that I can make^
Or elfe by him my loue denie^ 65
And then Ilejludie how to die.
Sil. Call you this chiding ?
Cel* Alas poore Shepheard.
Rof. Doe you pitty him ? No, he deferues no pitty :
wilt thou loue fuch a woman ? what to make thee an in- 70
ftrument,and play falfe ftraines vpon thee f not to be en-
dured. Well,goe your way to her; (for I fee Loue hath
made thee a tame fnake) and fay this to her ; That if fhe
loue me, I charge her to loue thee : if fhe will not, I will
neuer haue her, vnleffe thou intreat for her : if you bee a 75
true louer hence, and not a word; for here comes more
company. Exit, Sil.
Enter Oliuer. know)
Oliu. Good morrow, faire ones : pray you, (if you 79
60. this] that Rowc ii. 78. Scene VI. Pope, Han. Warb.
71. Jlraines] strings ¥{f Rowe. Johns.
76. louer Aence,"] /ovtr, hence^ Rowe.
of these fourteen lines.' If repetition Is in itself suspicious, and it often is, I cannot
think that this is the < love ' on which suspicion should light ; it is connected indis-
solubly with the preceding < love,' that flourished even under chiding. It is this very
love which is now sent by Silvius, so it seems to me. — Ed.
62. kinde] Johnson: The old word for nature, Caldecott: Natural and
kindly affections.
64. make] Steevens : That is, raise as profit from anything. So in Meas. for
Meas. IV, iii, 5 : * He's in for a commodity of brown paper, .... of which he made
five marks.' Caldecott : That is, make up, all that shall be my utmost amount.
Hallfwell : Probably used in its ordinary acceptation, make by my labour or skill.
70. instrument] That is, use thee as a messenger while deceiving thee; as
Wright sa3rs, it is here used in two senses, as a tool and as a musical instrument.
73. snake] Malone : This term was frequently used to express a poor, contempt-
ible fellow. So in Sir John OldcastUf 1600: « Priest, —and you, poor snakes, come
seldom to a booty.' — [p. 253, a, FJ. Again, in Lord Cromwell^ 1602 : *Hales. — ^nd
the poorest Snake, that feeds on Lemmons, Pilchers.' — [p. 234, 3, F^. Cotgrave
(always a good authority) gives : ^Haire. m. A leane, or ill-fauoured curtail ; a carrion
iade ; (hence) also, a wretched or miserable fellow ; a poore snake.' — Ed.]
79. faire ones] Wright : Shakespeare seems to have forgotten that Celia was
238 AS YOU LIKE IT [act iv, sc. iii.
Where in the Purlews of this Forreft, ftands 80
A fheep-coat,fencM about with Oliue-trees.
Cel. Weft of this place, down in the neighbor bottom
The ranke of Oziers,by the murmuring ftreame
Left on your right hand, brings you to the place :
But at this howre,the houfe doth keepe it felfe, 85
There's none within.
OH. If that an eye may profit by a tongue,
Then fhould I know you by defcription.
Such garments, and fuch yeeres : the boy is feire,
Of femall fauour, and beftowes himfelfe 90
80. Where i«] Wherein F^F^. 89-92. the boy .„brother'\ As a quo-
84. brings\ bring Ff, Rowe i. tation, Theob. et seq.
85. howre'\ F,. 90. femall^ F,. female F^F^.
apparently the only woman present. Perhaps we should read ' fair one,^ [Decidedly.
It is the very last oversight which Shakespeare would be likely to commit. It is
Celia who replies, which increases the likelihood that it is she alone who is
addressed. — ^Ed.]
79. (if you know)] Rowe exchanged these parentheses of the Folios for commas.
Johnson was the first to drop the second comma and read : ' Pray you, if you know
"^liere in the/ &c., and was followed, except by Capell, in all editions down to and
including Knight. G)llier restored the second comma, which has been since retained.
It is a trifling matter, but it involves a shade of meaning which an editor cannot dis-
regard. — Ed.
80. Purlews] Malone : Bullokar, Expository has : *Purh4e, A place neere ioin-
ing to a Forrest, where it is lawfull for the owner to the groxmd to hunt, if hee can
dispend fortie shillings by the yeere of free land.' Reed : Purlieu^ says Manwood's
Treatise on the Forest Laws, c. xx, * is a certaine territorie of ground adjoyning unto
the forest, meared and bounded with unmoveable marks, meeres, and boundaries :
which territories of ground was also forest, and afterwards disaforested againe by the
perambulations made for the severing of the new forest from the old.'
82. bottom] Capell : This word should have a fuller stop after it, a semicolon;
for the meaning of these lines, whose construction is a little perplex'd, is as follows :
It stands to the west of this place y and doTtm in the neighbour bottom ; if you leave
the rank of osiers y that grows by the brook-side, on your right handy it will hsmgyou
to the place. [For many examples of noun compounds, see Abbott, § 430.]
83. ranke] See III, ii, 97.
84. Left] See Capcll's foregoing note.
90. fauour] Moberly : To favour is to resemble in Yorkshire even now [and here
in this country also. — Ed.]. Hence it might be argued that 'favour* means resem-
blance y and therefore cottntenance. It would, however, be more accurate to derive the
verb from the substantive, as in the parallel phrase of the same dialect, < you breed o'
me,' for you are like me. In that case < favour ' may perhaps be a corruption (by
proximity) of < feature ' (faiture), which is similarly used as a verb (< a glass that fea-
tured them '). Compare, for the vanishing of the /, * vetulus ' with < vieil,' and < em*
•/
ACT IV, sc. m.J AS YOU LIKE IT 239
Like a ripe fifter : the woman low 91
91. ripeji/ier] right forester Lettsom, Steev. Mai. Sing. Qke, KUy, Dyce iii,
Huds. Coll. iii.
the\ But the Ff, Rowe+» Cap.
ph3rteu8i8 * with • (en)fief.* Wright : * Favour * is aspect, look ; used generally of
the face. Compare Meub. I, ▼, 73 : * To alter favour ever is to fear.' And Hatnlet^
Vy i, 214 : < Let her paint an inch thick, to this favour she must come.'
90. bestowes] Steevens : Compare 2 Hen, IV: II, ii, 186: * How might we see
Falstaff bestow himself to-night in his true colours, and not ourselves be seen ?'
Rbv. John Hunter : I apprehend the meaning here to be, that by stuffing out his
bosom, he gives himself the appearance of a girl of ripe age. [Schmidt supplies
many exan^les where < bestow,' used reflectively, means to deport one's self.']
91. ripe sister] Walker {Fers. 209) : *A ripe sister' seems an odd expression.
Lettsom [in a foot-note to Walker] : Odd, no doubt, and it is not less odd that
nobody, as far as I know, made this remark before. * Ripe sister ' seems corrupted
from right forester. This last word was often written forster and foster. Perhaps,
too, the first < and ' has usuiped the place of but. The F, reads : < Like a ripe sister s
But the woman low,' &c. So in Macb. I, vii, the same edition has : 'And dasht the
Branes out, had I but so swome,' &c. But^ in both these passages, is a crutch fur-
nished by the compassionate editor to assist the lameness of the metre. In Macbeth
the idiom of our language, as well as the harmony of the verse, seems to require us to
read : 'And dash'd the brains on^t out, had I so sworn,' &c. Dyce (ed. iii) pro-
nounces this emendation of Lettsom's < most ingenious,' a commendation by no means
too strong. *A ripe sister,' not only as a phrase by itself, but as applied to a young
man or even to a * boy,' seems to be not merely ' odd,' but almost unintelligible, and
until something better is proposed Lettsom's r^ht forester holds, for me, pre-eminent
rank. But, on the other hand, Wright, our highest Shakespearian authority now
living, accepts the present text, and sa3rs : ' 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.' See also Hunter's explanation in the preceding note.-— Ed.
91. sister] Of course it is manifest that the scansion of this line halts if we read
it in the right butterwon^'s rank to market. To smooth it out Walker ( Vers, 209)
suggested that ' sister ' be pionounced as he says daughter is sometimes pronounced ;
that is, as a trisyllable. Oxen and wainropes will never draw me to the belief that
either word was ever so pronounced, or at least ever should be so pronounced.
Almost invariably where the rhythm halts over these two words there is a pause in the
sense ; and this pause it is which takes the place of the extra syllable. How Walker
missed seeing this, it is difficult to comprehend. He himself even calls attention to
this pause, and notes that in at least half of the instances of his trisyllabic daughter
there is not only a pause, but a full stop after the word. And yet he speculated on
the original form of the word as a source of its prolonged pronunciation, and Lettsom
suggested that it might lie in the original guttural sound. Abbott, too, is scarcely
better ; for he suggests (§ 478) that the -er final may have been * sometimes pronounced
with a kind of *' burr," which produced the effect of an additional syllable,' and thus
scans the present line : ' Like a | ripe sfis | //r .* | the wdm | an Idw.' * Trisyllables
and * burrs ' may make lines rhythmical on paper, but let them remain on the paper,
and never leave it Or let them be set to the music which is asked for in Othello,
*that may not be heard.'—- Ed.
240 AS YOU LIKE IT [act iv, sc. uL
And browner then her brother : are not you 92
The owner of the houfe I did enquire for ?
Cel. It is no boaft, being ask'd, to fay we are.
OIL Orlando doth commend him to you both, 95
And to that youth hee calls his Ro/alind,
He fends this bloudy napkin ; are you he ?
Ro/, I am : what muft we vnderftand by this ?
Olu Some of my fhame, if you will know of me
What man I am, and how, and why, and where I GO
This handkercher was ftain'd.
Cel, I pray you tell it.
Olu When laft the yong Orlando parted from you,
He left a promife to returne againe
Within an houre, and pacing through the Forreft, 105
Chewing the food of fweet and bitter fancie,
93. owner] owners Cap. conj. Hal. Huds. Rife, handkerchief "Royrt et cet,
Dyce iii, Huds. 105. an houre] two hours Han.
97. this] his Warb. (misprint?). lo6. food] cud Sta. Dyce ii, ill, ColL
loi. handkercher] Ff, Dyce, Cam. iii, Huds.
92. browner] Cowden-Clarke : It must be remembered tbat when Celia pro-
posed to disguise herself as a shepherdess, she says that she will ' with a kind of
umber smirch ' her < face ' ; and this browner complexion, mentioned here, shows that
she has fulfilled her idea.
93. owner] Capell's conjecture is harmless ; but Cowden-Clarks thus vindicates
the original text in a note on Celia's reply * we are * : ' In this little touch there is a
manifestation of Shakespeare's subtlety and true taste. Oliver, wholly occupied with
Celia, asks her if she be the " owner of the house " he inquires for ; but she, with the
usual delicacy, modesty, and generosity which characterise her, especially where
sharing all things equally with her cousin is concerned, answers by a word that com-
prehends them both as joint-ownere.'
97. napkin] Steevens : That is, handkerchief [as it is called within five lines.—
Ed.]. Ray says that a pocket-handkerchief is so called about Sheffield in Yorkshire.
Boswell : Napkin is still a handkerchief in Scotland, and probably in all the north-
em English counties. [* Oft did she heave her napkin to her eyne.* — Lover's Com-
plaint^ 21. See 0th, III, iii, 335, where the fatal < handkerchief spotted with straw-
berries * is also called a * napkin.* — Ed.]
loi. handkercher] This is the uniform spelling in the Firet Quarto of Othello;
and once the Third Folio (IV, i, 167) spells it * HankerchifTe.* In the First Folio in
Othello the spelling is uniformly * handkerchiefe.'
105. an houre] < We must read,* says Johnson, 'vrithin two hours,' and then did
not so read in his text. As Tyrwhitt asks, < may not '< within an hour ** signify ivithin
a certain time ?' It does not mean one; it is simply the indefinite article. — Ed.
106. food] Staunton : Undoubtedly a misprint. * To chew the cud,* metaphori-
cally, to ruminate^ to resolve in the mind, is an expression of frequent occurrence in
ACT IV, sc. iii.] AS YOU LIKE IT 241
Loe what befell : he threw his eye afide, 107
And marke what obieft did prefent it felfe
Vnder an old Oake, whofe bows were mofs'd with age
And high top, bald with drie antiquitie: IIO
A wretched ragged man,ore-growne with haire
Lay fleeping on his back ; about his necke 1 12
109. old'\ Om. Pq)e+, Cap. Steev. 1 10. wUh"] o/Rowe ii. Pope, Han.
Wh. Cam. Dyce iii, Huds. Rife.
our old authors. Dyce (ed. ii) : In the Introduction to Quentin Durward the imag-
inary Marquis de Hautlieu is made to quote the present line thus : ^Shewing the code
of sweet and bitter fancy ' ; which is followed by the remark : * Against this various
reading of a well-known passage in Shakespeare I took care to offer no protest ; for I
suspect Shakespeare would have suffered in the opinion of so delicate a judge as the
Marquis, had I proved his having written " chewing the cud^^ according to all other
authorities.' — p. xxxvi, ed. 1823. Sir Walter Scott, therefore, was not aware that *• all
authorities * agreed in < chewing the food of,' &c. ; and to him, in fact, we owe the
correction of the line. Erem {Noies &* Qu. 5th ser. iv, 4) : The cud is identically
the chewed. There is, then, a chewing that is not the cud, but of fresh food, which,
become so a cud, is laid by for re-chewing. Orlando chews no cud, but the food,
ever springing afresh, of sweet and bitter love-thoughts, a crop in repute for quick
and thick gpnowth How at home the metaphor is in the English mind is shown
in the curious fact that the oral tradition of our educated society has usurped posses-
sion of the verse, turning < food ' into cud. Engage ten persons of literary cultivation
with the elder brother's revelation of the younger's reverie, and, if the world is as it
was, nine will, I expect, pledge their scholarship to that reading of this text which,
on the page of Shakespeare, they have not read. With a step back into the world
as it was you have wonderfully Sir Walter Scott in example, [who] deliberately
alleges cttd for the universal reading, more than a generation before [a single text]
had it
106. bitter fancy] Capell : The epithets given to ' Fancy ' look'd so like a trans-
lation of the Greek yXwcfrntxpov, that the editor thought for some time, the Poet must,
somehow or other, have been fishing in those waters ; but turning again to his novel-
ist, he found a passage he had not reflected on, and thus it runs : * Wherein I have
noted the variable disposition of fancy, .... being as it should seeme a combat mixt
with disquiet, and a bitter pleasure wrapt in a sweet prejudice ' ; the words are
address'd to Rosalind by this identical speaker. [See Appendix.] Malone : Low
is always thus described by our old poets, as composed by contraries. See notes on
I^om. ^ Jul. I, i, 169. Farmer : Watson begins one of his canzonets : < Love is a
sowre delight, a sugred griefe, A living death, an ever-dying life,' &c.
109. old] Stervens : As this epithet hurts the measure without improvement of
the sense (for we are told in the same line that its * boughs were moss'd with d^,*
and, afterwards, that its top was bald with dry antiquity)^ I have omitted it, as an
unquestionable interpolation. White : I cannot believe that in an otherwise deftly
wrought and perfectly rhythmical passage, Shakespeare would load a line with a
heavy monosyllable, entirely superfluous to any purpose other than that of marring
the description and making the verse halt
16
242 AS YOU LIKE IT [act iv, sc. Hi.
A greene and guilded fnake had wreath'd it felfe, 113
Who with her head, nimble in threats approach^
The opening of his mouth : but fodainly 1 15
Seeing Orlando^ it vnlink'd it felfe,
And with indented glides, did flip away
Into a bufh, vnder which bufhes fhade
A Lyonnefle, with vdders all drawne drie,
Lay cowching head on ground, with catlike watch 120
When that the fleeping man fhould ftirre ; for 'tis
The royall difpofition of that bead
To prey on nothing, that doth feeme as dead : 123
114. threats] threats ^ Rowe. 1 1 8. which"] who/e Ff, Rowe.
113. guilded] RoLFE cites Schmidt as 'noting that Shakespeare uses ''gilded''
twenty times and "gilt" only six times.'
113. snake] Maginn (p. 91) : Some sage critics have discovered as a great geo-
graphical fault in Shakespeare that he introduces the tropical lion and serpent into
Arden, which, it appears, they have ascertained to lie in some temperate zone. I
wish them joy of their sagacity. Monsters more wonderful are to be found in that
forest ; for never yet, since water ran and tall tree bloomed, were there gathered
together such a company as those who compose the dramatis persona of As You Like
It, All the prodigies spawned by Africa, leonum arida nutrix, might well have
teemed in a forest, wherever situate, that was inhabited by such creatures as Rosalind,
Touchstone, and Jaques. [Maginn refers to certain < sage critics ' who have severely
criticised Shakespeare's geography. Other commentators refer to ' wiseacres,' or to
' would-be critics,' who sneer at Shakespeare's ' lions ' and scoff at his * palm trees '
here in the forest of Arden, but nowhere that I can find are these * sage critics * or
* wiseacres ' mentioned by name. I would gladly know who they are. My reading
has been tolerably extensive in what has been written about this play, and yet I have
never come across these sneerers and scoffers. Allusion to them is abundant, and
illimitable ridicule is heaped on them, and no end of indignation is stirred in defence
of poor dear Shakespeare against their inanities, but the cowards skulk, and dodge,
and hide, and show never a face. Exist somewhere they must. It cannot be that
we are all turned Don Quixotes. At last, in my search for these wretches, I have
concluded, in my despair, that it is absolutely necessary to take a hint from the Law,
and to adopt, for the nonce, into our circle of commentators a < John Doe ' and a
* Richard Roe,' whom we may here load with obloquy, cover with ridicule, and
wither with indignation, to our own immense relief, and with the heartsome reflection
that no breather in the world will be, for it all, one atom the worse. — Ed.]
114. Who] See III, v, 15, and again, line 137 below, or Abbott, §264, for
instances of *who' personifying irrational antecedents.
119. drie] Steevens : So in Arden of Fevershanty 1592: *the stamen Lyones,
When she is dry suckt of her eager young.' — [II, ii, p. 37, ed. Bullen. Compare
Lear^ III, i, 12: 'This night wherein the cub-drawn bear would couch.']
121. that . . . should] For * that,' see I, iii, 44; for ' should,' see Abbott, § 326.
123. dead] The belief in this disposition is probably as old as Aristotle; it is men-
ACT IV. sc. iii.] AS YOU LIKE IT 243
This feene, Orlando did approach the man,
And found it was his brother, his elder brother. 125
Cel, O I haue heard him fpeake of that fame brother,
And he did render him the moft vnnaturall
That liuM amongft men.
OH. And well he might fo doe.
For well I know he was vnnaturall. 130
Rof. But to Orlando : did he leaue him there
Food to the fuck'd and hungry Lyonneffe ?
Olu Twice did he turne his backe,and purposM fo :
But kindneffe, nobler euer then reuenge.
And Nature ftronger then his iuft occafion, 135
Made him giue battell to the Lyonneffe :
Who quickly fell before him, in which hurtling 137
128. among/f] Ff, Rowe i, Cam. Wh. ii. among Rife, ^mongst Rowe ii et cet
tioned by Pliny in his chapter on Lions, which he says he derived in the main from
the Greek. Grey (i, 185) called attention to this passage in Pliny, which thus appears
in Holland's translation (Book VIII, chap, xvi] : < The Lion alone of all wilde beasts,
is gentle to those that humble themselues vnto him, and will not touch any such vpon
their submission, but spareth what creature soeuer lieth prostrate before him.* Natu-
rally, in the case of a belief so old and so popular, allusions to it abound. * The rag-
ing Lyon neuer rendes The 3rielding pray, that prostrate lyes,* it stands written in
\Villobie*s Aznsa, p. 99, ed. Grosart ; and Douce (i, 308) cites Bartholomaeus, Dt
Propriet. Rerum : * their mercie is known by many and oft ensamples : for they spare
them that lye on the ground.* Shakespeare refers to the nobleness of the lion in
Twelfth N. and in Tro. ^ Cress. Moreover, this delay of the lion in devouring
Oliver is mentioned in Lodge's Novel (see Appendix), although it is there stated as
due not to a royal disposition, but to a disrelish of ' dead carkasses.* — Ed.
123. as] See line 14, above.
127. render him] Malone: That is, describe him. [This line is another furtive
Alexandrine which Abbott would unmask by 'slurring' the last two syllables of
' nnna/t/ra/.* To say unnafral would come nat'ral to Hosea Bigelow, but, I think,
to no one else. — Ed.]
131, &c. Fletcher (p. 222) : How finely is this scene contrived so as to show us
the dignity of Rosalind's affection ever keeping pace with its increasing warmth.
Her first solicitude, on this occasion, is not about her lover's personal safety, but as to
the worthiness of his conduct under this new and extraordinary trial of his generosity.
135. occasion] Caldecott: That is, such reasonable ground as might have amply
justified, or given just occasion for abandoning him. See IV, i, 167.
137. Who] See line 114, above.
137. hurtling] Steevens : To hurtle is to move with impetuosity and tumult. So
in Jul. Cas. II, i , 22 : * The noise of battle hurtled in the air.* Skeat : To come
into collision with, to dash against, to rattle. Nearly obsolete, but used in Gray's
Fatal SisterSy St. i ; imitated from Shakespeare's Jul. Cas. Middle English, hurtlen^
244 AS YOU LIKE IT [act iv. sc. iii.
From miferable flumber I awaked. 138
CeL Are you his brother ?
Rof. Was't you he refcu'd ? 140
CeL Was't you that did fo oft contriue to kill him ?
Olu 'Twas I : but ^tis not I : I doe not fhame
To tell you what I was, fince my conuerfion
So fweeetly taftes, being the thing I am.
Rof. But for the bloody napkin ? 145
Olu By and by :
When from the firft to laft betwixt vs two,
Teares our recountments had moft kindely bath'd,
As how I came into that Defert place.
I briefe, he led me to the gentle Duke, 150
Who gaue me frefli aray, and entertainment,
140. Jf^/] Ff, Rowe, Pbpe, Han. 144. fweeetly] F,.
Theob. i, Sing. Wh. Sta. Cami. Rife. 149. As how] As^ how Steev. '93 ct
Was it Theob. ii et cet. seq. (subs.).
refold] rescued Knt, Cam. Ktly, Defert ] Defart F^ Rowe, Pope,
Coll. iii, Huds. Rife. Theob. Han. Warb.
141. Was't] Was it Theob. ii, Warb. 150. /] In Ff.
to jostle against, dash against, push. 'And he him hurtleth with his hora adoun.'—
Chaucer, C. T. 2618, in the Ellesmere MS, where most other MSS have hurteth. In
fact, hurt-le is merely the frequentative of hurt^ in the sense of < to dash.* And this
hurt is the Mid. Eng. hurten, to dash, to dash one's foot against a thing, to stumble.
* If ony man wandre in the dai, he hirtith not,' t. e. stumbles not.-r-Wyclif, John^ xi,
9. HurteHf to dash, is the same with the modem English word.
147, &c. Capell : No heedful peruser of this line, and the three it is follow' d by,
ian think we have the passage entire ; other heads of these brothers' * recountments '
are apparently necessary to make the Poet's * in brief right and sensible. What the
accident was, or whose the negligence, that has depriv'd us of these heads, the editor
does not take upon him to say ; this only he is bold to assert, that there is a lacuna^
and (perhaps) of two lines : if the public thinks well to admit of them, here are two
that may serve to fill up with : < How, in that habit ; what my state, what his ; || And
whose the service he was now engag'd in ; — || In brief,* &c. Malone : I believe a
line has been lost after line 149. Steevens : I suspect no omission. Keightley :
There may have been a line lost, but I rather think it is an aposiopesis. [The omis-
sion of a line is so serious a defect that we might diminish the chances of its having
occurred by converting * recountments ' into the singular. That final / is an unruly
letter, which has given so much trouble that Walker even goes so far as to suggest,
as I have already noted many times, that its presence may have been due to some
peculiarity in Shakespeare's handwriting. At any rate, its omission here is certainly
less violent than the insertion of a whole line, or, worse still, of two whole lines.
Keightley's < aposiopesis ' is not without its dramatic effect, as though emotion choked
the speaker. — Ed.]
149. As] Steevens : <As,' in this place, signifies— as for instance. [See II, i, 8.]
ACT IV. sc. iu.] AS YOU LIKE IT 245
Committing me vnto my brothers loue, 152
Who led me inftantly vnto his Caue,
There ftript himfelfe, and heere vpon his arme
The Lyonneffe had tome fome flefli away, 155
Which all this while had bled ; and now he fainted,
And cride in fainting vpon Ro/alinde.
Briefe,! recouer^d him, bound vp his wound,
And after fome fmall fpace, being ftrong at heart.
He fent me hither, ftranger as I am 160
To tell this ftory,that you might excufe
His broken promife, and to giue this napkin
Died in this bloud, vnto the Shepheard youth,
That he in fport doth call his Rofalind.
CeL Why how now Ganimed, fweet Ganimed. 165
OH, Many will fwoon when they do look on bloud.
CeL There is more in it ; Cofen Ganimed.
OIL Looke,he recouers.
Ro/. I would I were at home.
CeL Wee'U lead you thither : 1 70
161. Jtory] Om. F^F^. 167. more in it"] no more in it F^F^,
163. this] Mai. Steev. '93, Cald. Knt Rowe. no more in^t Pope, Han.
his Ff, Rowe + , dp. G>11. Wh. Dyce, Cofen Ganimed] Cousin Gani-
Sta. Cam. Ktly. med/Rowe. Cousin — Ganymed ! ]ohn&,
164. [R08. faints. Pope etseq. (subs.). Steev. Mai. Wh. i.
165. Ganimed,yz&^^/ Ganimed.] (za/t^- 168. [Raising her. Coll. ii (MS).
med I — Sweet ! — Ganymed ! Johns. 1 69. / would ] Would Pope + .
158. Briefe] In Schmidt will be fomid other instances of 'brief thus used.
163. this] Malone : The change to his of F, is unnecessary. Oliver points to
the handkerchief when he presents it ; and Rosalind could not doubt whose blood it
was after the account that had been before given. Steevens : Either reading may
serve ; and certainly his is not the worst, because it prevents the disgusting repetition
of the pronoun * this/ with which the present speech is infested. [This is one of the
examples in Walker's chapter on < the Substitution of Words ' (Crit, i, 317), and on it
he remarks : < Here the proneness of this and his to supplant each other might facili-
tate the error.' * This blood ' is weak compared with *■ his blood.' That it is his blood,
Orlando's very blood, makes Rosalind faint. — Ed.]
167. Johnson : Celia, in her Hrst fright, forgets Rosalind's character and disguise,
and calls out < cousin,' then recollects herself, and says, ' Ganymede.' Dyce : But
< cousin ' is used here merely as a term of familiar address. Capell : Celia's Mght
makes her almost forget herself; begin, with telling more than she should do; and end,
with calling Ganimed * cousin,' whom her hearer has call'd < brother/ and believes
him to be so. The incident that gives birth to this fright, ' the bloody napkin,' has no
existence in the Novel that fumish'd most of the othenk
246 AS YOU LIKE IT [act iv. sc. iii.
I pray you will you take him by the arme. 171
OIL Be of good cheere youth : you a man?
You lacke a mans heart.
Rof. I doe fo, I confeffe it :
Ah,firra, a body would thinke this was well counterfei- 175
ted, I pray you tell your brother how well I counterfei-
ted : heigh-ho. 177
l^ I. will you] Om, F^F^, Rowe. Mai. [5tV F^, ^. Mai. '90, but corrected
172-175. Prose, Pope et seq. in Var. *2I.]
172-175. Prose, Pope et seq. in Var. *2I.]
l^S. Jirra] Sir Pope+, Cap. Steev.
171. Cowden-Clarke : Here is another of Shakespeare's subtly characteristic
touches. Celia, like a true woman for the first time in love, and in love at first sight,
eagerly takes the opportunity of retaining near her the man she loves, and as gladly
enlists his services of manly support and kindness on behalf of one dear to her. But
while indicating this womanly trait in Celia, he at the same time marks her generosity
of nature, by making her, even in the first moment of awakened interest in Oliver, still
most mindful of her cousin Rosalind, whom, when she sqqs likely to betray her secret,
she recalls to herself by the words : < Come, you look paler and paler ; pray you, draw
homewards.'
174. I doe so] Lady Martin (p. 432) : The rest of the scene, with the struggle
between actual physical faintness and the effort to make light of it, touched in by the
poet with exquisite skill, calls for the most delicate and discriminating treatment in the
actress. The audience, who are in her secret, must be made to feel the tender, lov-
ing nature of the woman through the simulated gaiety by which it is veiled ; and yet
the character of the boy Ganymede must be sustained. This is another of the many
passages to which the actress of comedy only will never g^ve adequate expression.
How beautiful it is!
175. Ah, sirra] Caldecott: Yet scarce more than half in possession of herself,
in her flutter and tremulous articulation she adds to one word the first letter, or
article, of the succeeding one. Dyce : ' Sirrah ' was sometimes nothing more than a
sort of playful familiar address. In / Hen. IV: I, ii, Poins says to the Prince :
^Sirrahy I have some cases of buckram for the nonce,' &c., compare, too, Rom, &*
Jul. I, V : ^Ahy sirrah^ this unlook'd-for sport comes well.' ^Ah^ sirrah^ by my fay,
it waxes late.' [Dyce, in his first edition, added, what he subsequently omitted, Cal-
decott's note, with the remark that it < could not well be surpassed in absurdity.']
White : On recovering herself, Rosalind immediately resumes her boyish sauciness,
and a little overdoes it. The printing of sir for < sirrah ' by some editors, and the com-
ments, laboriously from the purpose, of others, who give the original word, must serve
as the excuse for this note. Moberly : A similar form seems still in use in America
(without any notion of upbraiding). Rolfe : Moberly apparently refers to the vulgar
sirretj which is of very recent origin, and of course has no connection with * sirrah.'
175. a body] Halliwell: It may be worth notice that the term * body' Was for-
merly used in the way it is here in the text in serious composition. Wright : It 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 Meas. for Meas. IV, iv, 25 : < an eminent body.'
ACT IV, sc. ui.] AS YOU LIKE IT 247
Olu This was not counterfeit, there is too great te- 178
ftimony in your complexion, that it was a paflion of ear-
neft. 180
Rof, Counterfeit, I affure you.
Olu Well then, take a good heart, and counterfeit to
be a man.
Rof. So I doe : but yfaith, I fhould haue beene a wo-
man by right. 185
Cel, Come, you looke paler and paler : pray you draw
homewards : good fir, goe with vs.
OH. That will I : for I muft beare anfwere backe
How you excufe my brother, Ro/alind.
Rof. I fhall deuife fomething : but I pray you com- 190
mend my counterfeiting to him : will you goe ?
Exeunt. 192
179. a paJfton\ paffion Ff, Rowe.
181. White {Studies^ &c., p. 256) : When is it that we have seen a stage Rosalind
that showed us what the Rosalind of our imagination felt at the sight of the bloody
handkerchief? I never saw but one : Mrs Charles Kean. The last that I saw
behaved much as if Oliver had shown her a beetle, which she feared might fly upon
her ; and in the end she turned and clung to Celiacs shoulder. But as Oliver tells his
story the blood of the real Rosalind runs curdling from her brain to her heart, and she
swoons away, — falls like one dead, to be caught by the wondering Ohver. Few words
are spoken, because few are needed ; but this swoon is no brief incident ; and Rosa-
lind recovers only to be led off by the aid of Celia and Oliver. And here the girl
again makes an attempt to assert her manhood. She insists that she counterfeited,
and repeats her assertion. Then here, again, the stage Rosalinds all fail to present her
as she is. They say < counterfeit ' with at least some trace of a sly smile, and as if
they did not quite expect or wholly desire Oliver to believe them. But Rosalind was
in sad and grievous earnest. Never word that she uttered was more sober and serious
than her < counterfeit, I assure you.' And the fun of the situation, which is never
absent in As You Like It^ consists in the complex of incongruity, — the absurdity of a
young swashbuckler's fainting at the sight of a bloody handkerchief, the absurdity
of Rosalind's protest that her swoon and deadly horror were counterfeit, combining
with our knowledge of the truth of the whole matter.
248 AS YOU LIKE IT [act v, sc i.
A6lus Quintus. Scena Prima.
Enter Clowne and Awdrie.
Clow. We Ihall finde a time Awdrie^ patience gen-
tle Awdrie.
Awd. Faith the Prieft was good enough, for all the
olde gentlemans faying. 5
Clow. A moft wicked Sir OliucTy Awdrie y a moft vile
Mar-text. But Awdrie, there is a youth heere in the
Forreft layes claime to you.
Awd. I, I know who 'tis : he hath no intereft in mee
in the world : here comes the man you meane. lo
Enter William.
Clo. It is meat and drinke to me to fee a Clowne, by
my troth, we that haue good wits, haue much to anfwer
for : we fhall be flouting : we cannot hold.
Will. Good eu'n Audrey. 15
And. God ye good eu'n William.
Will. And good eu'n to you Sir.
Clo. Good eu'n gentle friend. Couer thy head, couer
thy head : Nay prethee bee eouer'd. How olde are you
Friend ? 20
Will. Fiue and twentie Sir.
Clo. A ripe age : Is thy name William ? 22
9. in nue] Om. Pope, Han. 15, &c. eu^n] F,. et^n F^F^. even
11. Enter...] After line 14, Dyce,Sta. Coll. Dyce, Sta. Cam.
Cam. 16. ye\ give Johns.
19. eaun'd'] F,.
5. olde gentlemans] There is nothing disrespectful here in thus speaking of
Jaques ; it merely gives us a hint of his age. Yet Dingelstedt translates it * der alte
Murrkopf. ' — Ed.
12. meat and drinke] Of this common old proverbial phrase Halliwell gives many
examples, and Wright refers to its repetition in Merry Wives^ I, i, 306.
14. shall] See I, i, 126.
14. flouting] MoBERLY : We must needs be jeering people. Wright : We must
have our joke.
15, 16. These two appear as < Godden' and ' Godgigoden' in the Qq and Folios
of Rom. 6* Jul, I, ii, 55, 56.
ACT V, sc. i.] AS YOU LIKE IT 249
WUl. WUliafn,{\x. 23
Clo. A faire name. Was't borne I'th Forreft heere ?
Will. I fir, I thanke God. 25
Clo. Thanke God : A good anfwer ;
Art rich ?
WUl. 'Faith fir, fo,fo
Cle. So, fo, is good, very good, very excellent good:
and yet it is not, it is but fo, fo : 30
Art thou wife ?
. Will. I fir, I haue a prettie wit.
Clo. Why, thou faift well. I do now remember a fay-
ing : The Foole doth thinke he is wife, but the wifeman
knowes himfelfe to be a Foole. The Heathen Philofo- 35
pher, when he had a defire to eate a Grape, would open
his lips when he put it into his mouth, meaning there-
by, that Grapes were made to eate, and lippes to open.
You do loue this maid ?
WUl. I do fit 40
26, 27, and throughout, Prosey Pope. 36. defire\ design (so quoted in foot-
34. wifeman^ wise man Rowe et note) Theob.
«eq. ^o, /tt'\/irYi.
34. The Foole, &c.] Moberly : The marrow of the Apologia Socratis condensed
Into a few words. See Prov, xii, 15. Wordsworth (p. 340) asks, « Is the " say-
hig " here quoted derived from / Corinthians^ iii, 18 ?'
34. Wiseman] Cambridge Editors : There can be no doubt that the words wise
moMf printed as two, in obedience to modem usage, were frequently in Shakespeare's
time written and pronounced as one word, with the accent on the first syllable, as
'madman' is still. See Walker {Cri/. ii, 1391). [See I, ii, 83, where this note
should have also appeared, but was unaccountably omitted. See also Mer. of Fen. I,
i, 116. Here, too, be another omission supplied, which was discovered only when it
was too late to change the stereotyped page, and space could be found on that page
only to refer to this present penitential expiation of the oversight. On p. xxxvi of the
< Clarendon Edition,' Wright, none of whose words can we afford to lose, has the
following 'Additional Note* on 'moe,' III, ii, 257 : * The statement that <*moe" is
used only with the plural requires a slight modification. 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 Tike 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.* — Ed.]
38. open] Capell : What he sa3rs of the * heathen philosopher ' is occasion'd by
seeing his hearer stand gaping (as well he might), sometimes looking at him, some-
times the maid ; who, says he, is not a grape for your lips When the Poet was
writing this speech his remembrance was certainly visited by some other expressions
in Euphues. [See Appendix. ' Phoebe is no lettice for your lippes, and her grapes
bang so high, that gaze at them you may, but touch them jovl cannot']
2SO AS YOU LIKE IT [act v. sc. i.
Clo. Giue me your hand : Art thou Learned f 41
Will. No fir.
Clo. Then leame this of me, To haue, is to haue. For
it is a figure in Rhetoricke, that drink being powr^d out
of a cup into a glafle, by filling the one, doth empty the 45
other. For all your Writers do confent, that ip/e is hee :
now you are not ip/ey for I am he.
Wm. Which he fir?
Clo. He fir, that muft marrie this woman: Therefore
you Clowne, abandon : which is in the vulgar, leaue the 50
focietie : which in the boorifli, is companie, of this fe-
male : which in the common, is woman : which toge-
ther, is, abandon the fociety of this Female, or Clowne
thou perifheft : or to thy better vnderftanding, dyeft ; or
(to wit) I kill thee, make thee away, tranflate thy life in- 55
to death, thy libertie into bondage : I will deale in poy-
fon with thee, or in baftinado, or in fteele : I will bandy
with thee in faftion, I will ore-run thee with police: I 58
43, 49. Clo.] Col. F,. Steev. '93, Dyce iii.
54» 55' ^ {^^ wUy] to wit Farmer, 58. police] policy Yi ti cei,
56. poyson] Warburton's far-fetched idea, that < all this seems an allusion to Sir
Thomas Overbury's affair,* was properly refuted by Heath, who recalled the date of
Sir Thomas Overbury's * affair,' which * did not break out till 1 61 5, long after Shake-
speare had quitted the stage and within a year or a little more of his death.'
57. bastinado] Wright : This spelling has been adopted in modern times. But
Cotgrave gives : ' Bastonnade : f. A bastonadoe ; a banging or beating with a cudgell.*
Florio {Ital. Diet.) has : * Bastonata, a bastonado, or cudgell blow.'
57. bandy] Skeat : To beat to and fro, to contend. Shakespeare has bandy^ to
contend. Tit. And. 1, 312, but the older sense is to beat to and fro, as in Rom. ^ Jul.
II, V, 14. It was a term used at tennis, and was formerly also spelt band^ as in * To
band the ball.' — Turberville. The only difficulty is to account for the final -y ; I sus-
pect it to be a corruption of the Fr. bander (or bandi)^ the Fr. word being taken as a
whole y instead of being shortened by dropping -er in the usual manner ; Fr. ' bander^ to
bind, fasten with strings ; also to bandie^ at tennis.' — Cotgrave. He also gives : < Jouer
k bander et k racier contre, to bandy against, at tennis ; and (by metaphor) to pursue
with all insolencie, rigour, extremitie.' Also : < Se bander contre, to bandie or oppose
himselfe against, with his whole power ; or to ioyne in league with others against.'
Also ; * lis se bandent k faire un entreprise, they are ploting a conspiracie together.'
The word is therefore the same as that which appears as band^ in the phrase *to band
together.' The Fr. bander is derived from the Ger. band^ a band, a tie, and also
includes the sense of Ger. bande^ a crew, a gang.
58. police] This is one of the many examples in Walker's chapter {Crit. ii, 48)
on the confusion of / and it final.
ACT V. sc. il] AS YOU LIKE IT 251
will kill thee a hundred and fifty wayes, therefore trem-
ble and depart. 60
Aud. Do good William.
Will, God reft you merry fir. Exit
Enter Conn.
Cor. Our Mafter and Miftrefle feekes you : come a-
way,away. 65
Clo. Trip Audryy trip Audry^ I attend,
I attend. Exeunt 67
Sc(Bna Secunda.
Enter Orlando & Oliuer.
Orl. Is't poflible, that on fo little acquaintance you 2
61. Do\ Do, Rowe. 64. feekes\ F,. feeks F^F^, Knt, Dyce
62. you merry] you merry, Rowe et i, Sta, Cam. Wh. ii. seek Rowe et cet
seq. 66. Audry] F,. Audrey F^F^.
64. seekes] Again that obtrusive s to which our attention ifi so often directed in
the Folio. Whatever it be, a compositor's oversight or a flourish in Shakespeare's
handwriting, it is not, as far as Shakespeare is concerned^ ' that figment of the gram-
marians,* so says Wright in happy phrase, the old Northern plural in s. See I, ii, loi.
Abbott ingeniously suggests that * being indicated by a mere line at the end of a
word in MS, it was often confused with the comma, full stop, dash, or hyphen.'—
§ 338. Sometimes, of course, the rhyme shows that it is genuinely present. — Ed.
1. Dyce: Here, perhaps, the Scene ought to be marked: 'Another part of the
Forest. Before a Cottage.'
2. possible] Steevens : Shakespeare, by putting this question into the mouth of
Orlando, seems to have been aware of the impropriety he had been guilty of by desert-
ing his original. In Lodge's Novel the elder brother is instrumental in saving Aliena
from a band of rufHans. Without the intervention of this circumstance, the passion
of Aliena appears to be very hasty indeed. Blackwood's Magazine (April, 1833,
p. 558) : Dr Johnson saith : ' I know not how the ladies will approve the facility with
which both Rosalind and Celia give away their hearts. To Celia much may be for-
given for the heroism of her friendship.' The ladies, we ^re sure, have forgiven
Rosalind. What say they to Celia ? They look down, blush, shake head, smile, and
say, ' Celia knew Oliver was Orlando's brother, and in her friendship for Rosalind she
felt how delightful it would be for them two to be sisters-in-law as well as cousins.
Secondly, Oliver had made a narrow escape of being stung by a serpent and devoured
by a lionness, and " pity is akin to love." Thirdly, he had truly repented him of his
former wickedness. Fourthly, 'twas religiously done by him, that settlement of all
the revenue that was old Sir Rowland's upon Orlando. Fifthly, what but true love,
252 AS YOU LIKE IT [act v. sc. iL
Ihould like her f that, but feeing, you (hould loue her ? 3
And louing woo ? and wooing, (he (hould graunt ? And
will you perfeuer to enioy her ? S
01. Neither call the giddineflfe of it in queftion ; the
pouertie of her, the fmall acquaintance, my fodaine wo- 7
5. per/euer] F,, Cap. Steev. Var. Cald. Ktly, Huds. Rife, per/evere F^F^, Rowe
Knt, Coll. i, Sing. Wh. Dyce, Sta. Cam. +, Mai. Coll. iii.
following true contrition, could have impelled him thus to give all up to his younger
brother, and desire to marry Aliena, <* who, with a kind of umber, had smirched her
face," a woman low and browner than her brother ? Sixthly, " tell me where is fancy
bred ?" At the eyes.* Thank thee, ma douce philosopht. There is a kiss for thee,
flimg off the rainbow of our Flamingo ! Hartley Coleridge (ii, p. 144) : I con-
fess I know nothing in Shakespeare so improbable, or, truth to say, so unnatural, as
the sudden conversion of Oliver from a worse than Cain, a coward fratricide in will,
to a generous brother and a romantic lover. Neither gratitude nor love works such ,
wonders with the Olivers of real life Romance is all very well in the Forest of
Arden, but Oliver is made too bad in the first scenes ever to be worthy of Celia, or
capable of inspiring a kindly interest in his reformation. Celia .... should at least
have put his repentance on a twelvemonth's trial. But in the Fifth Act ladies have no
time for discretion. Swinburne {A Study^ &c., p. 151) : Nor can it well be worth
any man's while to say or to hear for the thousandth time that As You Like It would
be one of those works which prove, as Landor said long since, the falsehood of the
stale axiom that no work of man's can be perfect, were it not for that one unlucky slip
of the brush which has left so ugly a little smear on one comer of the canvas as the
betrothal of Oliver to Celia ; though with all reverence for a great name and a noble
memory, I can hardly think that matters were much mended in George Sand's adap-
tation of the play by the transference of her hand to Jaques. Once elsewhere, or
twice only at the most, is any other such sacrifice of moral beauty or spiritual harmony
to the necessities and traditions of the stage discernible in all the world-wide work
of Shakespeare. In the one case it is unhappily undeniable ; no man's conscience,
no conceivable sense of right and wrong, but must more or less feel as did Coleridge's
the double violence done it in the upshot ol Meas. for Mecu. Even in the much more
nearly spotless work which we have next to glance at \^Much Ado"], some readers
have perhaps not unreasonably found a similar objection to the final good fortune of
such a pitiful fellow as Count Claudio. It will be observed that in each case the sac-
rifice is made to comedy. The actual or hypothetical necessity of pairing off all the
couples after such a fashion as to secure a nominally happy and undeniably matri-
monial ending is the theatrical idol whose tyranny exacts this holocaust of higher and
better feelings than the more liquorish desire to leave the board of fancy with a palat-
able morsel of cheap sugar on the tongue.
5. perseuer] Wright : The common spelling in Shakespeare's time, the accent
being on the second syllable. The only exception to the uniformity of this spelling,
given by Schmidt {Lexicon), is in Lear, III, y^ 23, where the Qq have perseifere and
the Ff periever, [As is seen by the Text Notes, this spelling did not last down to
Z664.]
7. of her] For other instances of the use of the pxxxumn for the pronominal adjec-
tive, see Abbott, $ 225.
ACT V. sc. u.] AS YOU LIKE IT 253
ing, nor fockine confenting : but fay with mee, I loue 8
Aliena : fay with her, that fhe loues mee ; confent with
both, that we may enioy each other : it fhall be to your 10
good : for my fathers houfe, and all the reuennew, that
was old Sir Rowlands will I eftate vpon you, and heere
liue and die a Shepherd.
Enter Ro/alind.
Orl. You haue my confent. 15
Let your Wedding be to morrow : thither will I
Inuite the Duke, and all's contented followers:
Go you, and prepare Aliena] for looke you,
Heere comes my Rofalinde.
Rof. God faue you brother. 20
OL And you faire fifter.
8. nor] Ff, Knt nor her Rowc ct cet. 1 7. alVs] Yi, Rowe, Coll. Wh. Dyce,
14. Enter...] After line 17, Coll. Cam. a// ^u Pope et cet.
After line 19, Dyce. 19. [Exit Oliver. Hal.
15-19. As verse, Ff, Rowe, Coll. As 21. OL] Orl. F^F^, Rowc i, Hal.
prose, Pope et cet [Exit Oliver. Ci^.
8. nor Bodaine] Knight is the solitary editor who retains this reading, which can-
not but be a misprint ; even with Knight it is apparently an oversight ; he has no note
on it, and he rarely fails to plead his loyalty to the Folio. Caldecott, who is a greater
stickler for the Folio than even Knight, here falls into line and prints ' nor her sud-
den.' — Ed.
12. estate] For other instances of the use of this verb in the sense of bestow^ settle^
see Schmidt
21. faire sister] Johnson: I know not why Oliver should call Rosalind 'sister.'
He takes her yet to be a man. I suppose we should read : 'And you, and your fair
sister.' Chamier : Oliver speaks to her in the character she had assumed, of a
woman courted by Orlando, his brother. White : Much wonder is expressed as to
how the knowledge of Rosalind's sex, which this reply evinces, was obtained ; and
forgetfulness is attributed to Shakespeare. But those who wonder must themselves
forget that since the end of the last Act Oliver has wooed and won Celia ; for to 8U]>-
pose that she kept Rosalind's secret from him one moment longer than was necessary
to give her own due precedence, would be to exhibit an ignorance in such matters
quite deplorable. Dyce : To me none of these notes is satisfactory. Halliwell :
The words in the text seem, under any explanation, improperly assigned to Oliver,
who had probably taken his departure just previously. All difficulty is obviated by
giving them to Orlando. [But would Rosalind address Orlando as < brother ' ? — Ed.]
Cowden-Clarke : Oliver has a double reason for calling Rosalind ' sister ' : he calls
her so, because she is the girlish-looking brother of the woman he hopes to marry,
and because she is the youth whom his own brother courts under the name of a
woman. It should be remembered, that in the very first scene where they meet,
254 AS YOU LIKE IT [act v. sc. ii.
Rof. Oh my deere Orlando, how it greeues me to fee 22
thee weare thy heart in a fcarfe.
Orl. It is my arme.
Rof. I thought thy heart had beene wounded with 25
the clawes of a Lion.
OrL Wounded it is, but with the eyes of a Lady
Rof. Did your brother tell you how I counterfeyted
to found, when he (hew'd me your handkercher?
Orl. I, and greater wonders then that 30
Rof. O, I know where you are : nay, tis true : there
was neuer any thing fo fodaine, but the fight of two
Rammes, and Ce/ars Thrafonicall bragge of I came, faw,
and ouercome. For your brother, and my fifter, no foo-
ner met, but they look'd : no fooner look'd, but they 35
lou'd ; no fooner lou'd, but they figh'd : no fooner figh'd
29. /ound'\ F,F^, Cald. Knt. /wound 32. fight'\ fight F^.
F^, Rowe. swoon Pope et cet. 34. ouercome\ ouercame Ff, Rowe et
handkercher\ F^F^, Dyce, Cam. seq.
handkerchief F^, Rowe et cet.
Oliver thus addresses her : ' I must bear answer back how you excuse my brother,
Rosalind.^ He at once acknowledges the assumed character, humours its assumption
by giving her the name she is supposed to assume, and now follows up this playful
make-believe by giving her the title and relationship she has a claim to, as the feigned
Rosalind. Wright : Oliver enters into Orlando's humour in regarding the apparent
Ganymede as Rosalind. [The explanation of the Cowden-Clarkes and of Wright carry
conviction. Gervinus has here one of those disheartening remarks (in which it must
be sadly confessed he abounds) which reveal his incapacity, partly owing to his
nationality, thoroughly to appreciate Shakespeare. He says (i, 492, ed. 1872), * Noth-
ing prevents us from so interpreting the action as to see that Orlando, at Oliver's sug-
gestion, after the fainting fit, has detected the disguise of the fair Ganymede, and
suffers him to play the game through to the end only that his joy may not be marred ;
if this can be made clear in the performance, the exquisite delicacy (FeinheU) of the
play will be extraordinarily increased.' — Ed.]
29. sound] See III, v, 19.
31. where you are] Wright: I know what you mean, what you are hinting at
[Hamlet uses the same phrase, I think, when he says, 'Ah, ha, boy ! say'st thou so ?
art thou there, true-penny ?' — I, v, 150. He does not refer to his father's being in the
* cellarage,' but rather * is that yoiu* meaning ? there is need of secresy ?' — Ed.]
33. Thrasonicall] Farmer (note on Love's Lab. Z. V, i, 14) : The use of this
word is no argument that our author had read [the Eunuchus of] Terence. It was
introduced to our language long before Shakespeare's time. Malone : It is found in
Bullokar's Expositor y l6i6. Halliwell: Stanyhurst, 1 582, writes: * Linckt was in
wedlock a loftye Thrasonical huf snufTe' — [p. 143, ed. Arber]. Compare, also,
Orlando Furioso^ 1594 : * Knowing him to be a Thrasonical madcap,' &c.
M
ACT V. sc. ii.] AS YOU LIKE IT 255
but they ask'd one another the reafon : no fooner knew 37
the reafon, but they fought the remedie: and in thefe
degrees, haue they made a paire of ftaires to marriage,
which they will climbe incontinent, or elfe bee inconti- 40
nent before marriage; they are in the verie wrath of
loue, and they will together. Clubbes cannot part
them.
OrL They (hall be married to morrow: and I will
bid the Duke to the Nuptiall. But O, how bitter a thing 45
it IS, to looke into happines through another mans eies :
by fo much the more (hall I to morrow be at the height
of heart heauineflfe. by how much I (hal thinke my bro-
ther happie,in hauing what he wi(hes for. 49
46, 47. eus : by] eyes ! By Cap. et seq.
39. degrees] Cowden-Clarke : Used here in its original sense as derived from
the Latin gradtiSf and French degri^ a step ; which affords the pun with the word
* stairs* immediately after.
39. paire of staires] H. C. Hart {New Sh. Soc, Trans. 1877-9, P^- J"» P* 47')
believes that in this phrase there lurks an allusion to wedlock which time has lost ; it
reappears in the phrase * below stairs' {Much Ado^ V, ii, 10), in which, Hart says,
' there is always some hidden meaning ' ; in proof whereof he brings forward several
examples from Jonson and Chapman. It is more than likely that he is right in regard
to the phrase ' below stairs,' which cannot always be explained by reference to the
servants' hall. But in the present passage the simile is so clear, that though some
allusion may be hid in it, we scarcely feel the lack of our knowledge of it. — Ed.
40. incontinent] Caldecott : Without restraint or delay, immediately.
42. Clubbes] Malone : It appears from many of our old dramas that it was a
common custom, on the breaking out of a fray, to call out ' Clubs 1 clubs !' io part the
combatants. So in 71^. And. II, i, 37 : ' Qubs, clubs ! these lovers will not keep the
peace.' The words * they are in the very wrafh of love * show that our author had
this in contemplation. Mason : So in Henry VIII: V, iv, 53 : * I missed the meteor
once, and hit that woman; who cried out " Clubs !" when I might see from far some
forty truncheoners draw to her succour.' Knight (Note on Rom. ^ Jul. I, i, 66) :
Scott has made the cry familiar to us in Tlie Fortunes of Nigel. * The great long
club,' as described by Stow, on the necks of the London apprentices, was as charac-
teristic as the flat cap of the same quarrelsome body in the da}'S of Elizabeth and
James. Dyce: 'Clubs* was originally the pgpular cry to call forth the London
apprentices, who employed their clubs for the preservation of the public peace ; some-
times, however, they used these weapons to raise a disturbance, as they are described
as doing [in the foregoing example from Henry VIII'].
45. Nuptiall] Wright : The plural form, which is now the prevailing one, is used
only twice by Shakespeare : in Per. V, iii, 80 and in 0th. II, ii, 9. In the latter pas-
sage the Ff have the singular, while the Qq read nuptialls. [In Mid. N. D. V, i, 75,
the First Folio has the singular, while the three later Ff have the plural, as noted by
Schmidt.]
256 AS YOU LIKE IT [act v. sc. u.
Rof, Why then to morrow, I cannot feme your tume 50
for Ro/alind}
Orl, I can liue no longer by thinking.
Rof. I will wearie you then no longer with idle tal-
king. Know of me then (for now I fpeake to fome pur-
pofe) that I know you are a Gentleman of good conceit: 55
I fpeake not this, that you (hould beare a good opinion
of my knowledge : infomuch (I fay) I know you arc:nei-
ther do I labor for a greater efteeme then may in fome
little meafure draw a beleefe from you, to do your felfe
good, and not to grace me. Beleeue then, if you pleafe, 60
that I can do ftrange things : I haue fince I was three
yeare olde conuerft with a Magitian, mod profound in 62
57. I know you] I know what you 62, yeare] F,. years F^ Rowe +
Rowe + . Steev. Mai. Coll. Sing. Ktly. year F^
arc] F,. Cap. et cet.
54-57. Know . . . arc] Whiter (p. 58) : This thought we find in Ham, V, ii,
134: *Osru. You are not ignorant of what excellence Laertes is. Ham. I dare not
confess that, lest I should compare with him in excellence ; but, to know a man well,
were to know himself.'
55. conceit] ScHMmT : Rosalind says this to Orlando in order to convince him
of her pretended knowledge of mysteries. It cannot therefore be equivalent to a
gentleman of good parts, of wit ; for there ' needs no magician to tell her this.'
[Schmidt's definition, therefore, of 'conceit' in this passage (and his note in his
translation (p. 461) is substantially the same) is ' extraction, birth,' but he indicates
his doubt of its correctness by placing after * birth ' an interrogation-mark. In this
instance, as elsewhere, there are indications, I think, that Schmidt held, and deserv-
edly held. Heath in high regard ; but here, however, I am afraid Heath led him
slightly astray. Heath's definition of 'conceit' here is, <of good estimation and
rank.' — Ed.] Craik {Jul, Qts. I, iii, 142) : To conceit is another form of our still
familiar conceive. And the noun 'conceit,' which survives with a limited mean-
ing (the conception of a man by himself, which is so apt to be one of over-estima-
tion), is also fi^quent in Shakespeare, with the sense, nearly, of what we now call
conception^ in general. Sometimes it is used in a sense which might almost be said
to be the opposite of what it now means ; as when Juliet employs it as the term to
denote her all-absorbing affection for Romeo, II, v, 30. Or as Gratiano uses it in
Mer. of Ven. I, i, 102, that is, in the sense of deep thought. So, again, .when Rosa-
line, in Love's Lab. L. II, i, speaking of Biron, describes his * fair tongue ' as < con-
ceit's expositor,' all that she means is that speech is the expounder of thought The
scriptural expression, still in familiar use, ' wise in his own conceit,' means merely
wise in his own thought or in his own eyes, as we are told in the margin the Hebrew
literally signifies. Wright : Of good intelligence or mental capacity. Shakespeare
never uses the word in its modem sense.
62. yeare] Wright: F^ had already 'years,* or the change would have been
made by Pope, on the ground that the singular was vulgar. See III, ii, 507.
ACT V. sc. ii.] AS YOU LIKE IT 257
his Art, and yet not damnable. If you do loue Rofalinde 63
fo neere the hart, as your gefture cries it out : when your
brother marries Aliena, (hall you marrie her. I know in- 65
to what ftraights of Fortune (he is driuen, and it is not
impoflTible to me, if it appeare not inconuenient to you,
to fet her before your eyes to morrow, humane as (he is,
and without any danger.
OrL Speak'ft thou in fober meanings ? 70
Rof. By my life I do, which I tender deerly, though
63. Artl^ heart F^. 65. Jkall you\ F,. you JkaU FjF^,
64. cries iV] cryeth Cap. conj. Rowe + , Steev.
70. meanings\ meaning Dyce iii.
64. gesture] Bearing.
68. humane] Johnson : That is, not a phantom, but the real Rosalind, without
any of the danger generally conceived to attend the rites of incantation.
Fletcher (p. 224) [on 11. 53-69] : Here we have another of those exquisite pas-
sages which no masculine hand but Shakespeare*s could ever write, and which so
charmingly betray to the auditor the delicate woman under her masculine garb. It is
pretty to contrast the rapid, pointed volubility of Rosalind, so long as Orlando's courtship
is carried on in seeming jest, with the circumlocutory manner in which, speaking now,
as she says, * to some purpose,' she announces to him that he shall so soon be married
if he will Every female reader, and especially every female auditor, if the
actress's own instinct lead her aright, will well understand this delicately-rendered
coyness of the speaker in approaching seriously so decisive a declaration to her lover,
even under the mask of her fictitious personation.
70. meanings] Again the superfluous 5 which Walker {Crit. i, 248) detected, and
Dyce (ed. iii) at once erased.
71. deerly] Steevens : It was natural for one who called herself a magician to
allude to the danger [to her life from the Acts of Parliament] in which her avowal,
had it been a serious one, would have involved her. [Warburton inferred from this
allusion that this play * was written in James's time, when there was a severe inquisi-
tion after witches and magicians.' But Malone, having shown that the play was
entered on the Stationers' Registers as early as 1600, it followed that there could be
here no allusion to the Act of James, but if there be an allusion at all, it must be to
the Act then in force, which was passed under Elizabeth ; this Act is thus cited, with
an abstract, by] Wright: By 5 Eliza, cap. 16, *An Act agaynst Conjuracons,
Inchantmentes, and Witchccrafles,' it was enacted that all persons using witchcraft,
&c., whereby death ensued, should be put to death without benefit of clergy. If the
object of the witchcraft were to cause bodily harm, the punishment was, for the first
offence, one year's imprisonment and pillory; and for the second, death. To use
witchcraft for the purpose of discovering treasure or to provoke unlawful love was an
offence punishable 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 Jac. I, cap. 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
17
258 AS YOU LIKE IT [act v. sc. iu
I lay I am a Magitian : Therefore put you in your beft a- 72
ray, bid your friends : for if you will be married to mor-
row, you fhall : and to Rofalind if you will.
Enter Siluius & Phebe. 75
Looke, here comes a Louer of mine, and a louer of hers.
Phe, Youth, you haue done me much vngentleneffe,
To fhew the letter that I writ to you.
Rof, I care not if I haue : it is my ftudie
To feeme defpightfuU and vngentle to you : 80
you are there followed by a faithful fhepheard,
Looke vpon him, loue him : he worfliips you.
Phe. Good ftiepheard, tell this youth what 'tis to loue
SU. It is to be all made of fighes and teares,
And fo am I for Phebe. 85
Phe. And I for Ganimed.
OrL And I for Rofalind.
Rof. And I for no woman.
Sil. It is to be all made of faith and feruice,
And fo am I for Phebe. 90
Phe. And I for Ganimed.
Orl. And I for Rofalind.
Rof. And I for no woman.
Sil. It is to be all made of fantafie.
All made of paffion, and all made of wiflies, 95
All adoration, dutie, and obferuance,
•
72. put you wj] put you on Rowe + , 84. all made] F,. made all F F^,
Steev/85. Rowe + , Steev/85.
75. Scene III. Pope, Han. Warb. 89. all made] made all Rowe + ,
Johns. Steev. *85.
Enter...] After line 76, Cap. Dyce, 96. obferuance] obferbance F,. obe-
Sta. dience Coll. (MS) ii, iii,"Wh. i, Dyce, Rife.
procure unlawful love the punishment was one year's imprisonment and pillory for the
first offence, and for the second, death.
73. bid] More than one editor has thought it best to explain the meaning of this
word here and in line 45. But surely the New Testament has made us all familiar
with it. — Ed.
76. comes] See I, ii, 113.
82. vpon him] Abbott, § 483, calls attention to the emphasis thrown by the rhythm
on this * him.*
94. fantasie] Craik i^Jul, Cas. p. 167) : That is, fancy or imagination, with its
unaccountable anticipations and apprehensions, as opposed to the calculations of
reason. [See II, iv, 32.]
ACT V. sc. ii.] AS YOU LIKE IT 259
All humbleneffe, all patience, and impatience, 97
All puritie, all triall,all obferuance:
And fo am I for Phebe.
Phe, And fo am I for Ganimed, 100
OrL And fo am I for Rofalind.
Rof. And fo am I for no woman.
Phe. If this be fo, why blame you me to loue you ?
Sil, If this be fo, why blame you me to loue you ? 104
98. ob/eruancel obedience Mai. conj. 103. [To Ros.] Pope et seq.
Raxm. endurance Harness conj. Sing. 104. [To Phe.] Pope et seq.
Ktlj, Huds.
98. all obseniance] Ritson : Read obeisance. Heath (p. 153) : As the word
* observance * had been already employed but two lines before, might not the poet pos-
sibly have written in this place * 2\\ perseverance y which follows very aptly after * trial * ?
Capell approves of this emendation of Heath's, and calls attention to the accent,
which is perseverance; Rann adopted it. Malone: 1 suspect our author wrote:
* all obedience.^ Harness : Perhaps endurance might be more in harmony with the
context ; Singer adopted it ; and of it Collier (ed. ii) says : * It may be a very
good word, but it is not Shakespeare's ; he uses it only twice in his thirty-seven plays,
and then not as applied to the sufferings of a lover; whereas he has " obedience " in
fifty places.' According to Collier's * old corrector ' it is the preceding * observance *
in line 96 that is wrong, and that * observance ' was changed by him into obedience^
* which,' adds Collier, * more properly follows " duty " than " trial." * This obedience
White also adopted, because : ' Obedience to the wishes of the beloved is one of the
first fruits and surest indices of love, one which in such an enumeration could not be
passed over ; and yet according to the text of the Folio it is not mentioned, while
"observance" is specified twice in three lines. Such a repetition is not in Shake-
speare's manner, for although he had peculiarities, senseless iteration was not one of
them.' In his second edition White returns to the Folio with the remark that although
*the word is corrupt, no acceptable substitute has been suggested.' Walker {Crit.
i, 280) thinks Ritson's conjecture preferable. [The Cambridge Edition records
* deservancCy Nicholson conj.* Whether or not this conjecture is elsewhere in print, I
do not know, nor who is the Nicholson. If it be Dr Brinsley Nicholson, the con-
jecture is worthy of all respect, as any conjecture hoai that source always is. We
shall all agree, I think, that one of these two ' observances ' must be wrong ; for two
reasons it is more likely to be the second than the first : where it occurs in line 96 it
is * appropriately associated,' Wright says, * with adoration and duty ;' to * observe *
meant to < regard with respectful attention,' as where Hamlet is spoken of as ' the
observed of all observers ' ; this usage lasted even to Milton's time ; in Par. Lost
(xi, 817) Noah is spoken of as *the one just man of God observed.* Secondly,
there is the compositor's common error of repetition. Of the substitutes that have
been proposed, I think the weight of probability lies with obedience, not alone on the
score of propriety, but on account of the ductus literarum, wherein it much resembles
* observance.' — Ed.]
103, &c. to loue] The infinitive is here used as we have had it several times before
in this play. We should now use the participle withy^ or in. See I, i, 109.
26o AS YOU LIKE IT [act v, sc. iu
Orl, If this be fo, why blame you me to loue you ? 105
Rof. Why do you fpeake too, Why blame you mee
to loue you.
OrL To her, that is not heere, nor doth not heare.
Rof. Pray you no more of this, 'tis like the howling
of Irifh Wolues againft the Moone : I will helpe you no
if I can : I would loue you if I could : To morrow meet
me altogether : I wil marrie you, if euer I marrie Wo-
man, and He be married to morrow : I will fatisfie you,
if euer I fatisfi'd man, and you fhall bee married to mor-
row. I wil content you, if what pleafes you contents 115
you, and you fhal be married to morrow : As you loue
Rofalind meet, as you loue Phebe meet, and as I loue no 117
106. ?f%^... /<?£?] Ff,Cald.G)ll.i,Dyce, 114. tomorrow'] tomorrow [To Orl.]
Wright, Rife. Whom. ..to Sing. Who.., Pope et seq.
tOf Rowe et cet. fatisfi'd'\ satisfy Douce, Dyce iii,
111. can] can [To Orl.] Johns, can Huds.
[To Sil.] Cap. et seq. 1 16. to morrow] tomorrow [To Sil.]
could] could [To Phe.] Johns, et seq. Pope et seq.
112. altogether] all together Rowe et 117. Rofalind] Rosalind [To Or!.]
seq. Johns, et seq.
113. to morrow] tomorrow [To Phe.] Vh&h^meet] Phebe meet \To Sil.]
Pope et seq. Johns, et seq.
io6. Why . , , too] Collier (ed. i) : This reading is perfectly intelligible when
addressed to Orlando, who replies that he speaks too, notwithstanding the absence of
his mistress. If altered, it need not be altered, as by the modem editors, to bad
English : * Who do you speak to?' Collier (ed. ii) ; Here again we follow the (MS),
the old text being : * Why do you speak too ?' The grammar is defective, according
to the strictness of modern rules, but perfectly intelligible, and no doubt what Shake-
peare wrote : * Whom do you,' &c. is a modem colloquial refinement. [I cannot see
the trace of a sufficient reason for deserting the Folio. — Ed.]
no. Irish Wolues] Malone: This is borrowed from Lodge's Novel: *I tell
thee, Montanus, in courting Phoebe, thou barkest with the wolves of Syria against the
moone.' [See Appendix.] Caldecott : That is, the same monotonous chime weari-
somely and sickeningly repeated. In the passage to which Malone refers it imports
an aim at impossibilities, a sense, which, whatever may be Rosalind's meaning, can-
not very well be attached to it here. Wright : In Ireland wolves existed as late as
the beginning of the last century. Spenser, in his View of the Present State of IrC'
land (p. 634, Globe ed.), mentions some of the Irish superstitions connected with the
wolf. [The clue to this allusion is probably lost. There were wolves in England
which presumably howled against the moon quite as monotonously or dismally as in
Ireland. We know well that a wolf * behowled the moon ' on one certain Midsum-
mer's Night. But these are Irish wolves— can there be an adumbration of the Irish
wailings ? The loan from Lodge, which Malone alleges, is not so manifest. It is a
far cry, or, rather, a far * bark,' from Syria to Ireland, and, as Caldecott says, the two
phrases are dissimilar in meaning. — Ed.]
ACT V. sc. iii.] AS VOW LIKE IT 261
woman, He meet : fo fare you wel : I haue left you com- 1 18
mands.
Sil. He not faile, if I Hue. 120
Phe. Nor I.
OrL Nor I. Exeunt 122
Sc(Bna Tertia.
Enter Clowne and Atidrey.
Clo. To morrow is the ioyfuU day Audrey y to morrow
will we be married.
Aud. I do defire it with all my heart: and I hope it is
no difhoneft defire, to defire to be a woman of y world? 5
Heere come two of the banifh'd Dukes Pages.
Enter two Pages.
I. Pa. Wel met honeft Gentleman.
C/o. By my troth well met : come, fit, fit, and a fong.
2. Pa, We are for you, fit i'th middle. lO
I. Pa. Shal we clap into't roundly, without hauking.
Scene IV. Pope, Han. Warb. Johns. $. world F'\ F,Fj. world. F^ et seq.
I, &c. Qowne] Touchstone Mai. et 10. you^ Jit'\ you. Sit Johns, et seq.
seq. (subs.).
118. you commands] Allen (MS) : I suspect that the compositor has left out
your here as a repetition : * I have left you your commands/ just as an officer would
now say : * I have given you your orders.*
5. dishonest] As we have had * honest * in the sense of ckaste in I, ii, 38; III, ii,
I5» so here ' dishonest ' means unchasU. Wright : In * the character of the persons *
prefixed to Ben Jonson's Every Man out of his Humour^ Fallace is described : * She
dotes as perfectly upon the courtier, as her husband doth on her, and only wants the
face to be dishonest.'
5. world] Steevens : To go to the world is to be married. So in Much Ado^ II,
'^iZZ^'' * Thus goes every one to the world but I I may sit in a comer and cry
heigh-ho for a husband!' Whiter: So also in AWs Welly I, iii, 20: *If I may
have your Ladyship's good will to go to the world.' [Dyce defines it * to commence
housekeeper,' which is good as a hint of what, it may be presumed, is the origin of the
phrase : when a yotmg couple married and set up for themselves,, they really entered
the world and its ways for the first time. — Ed.]
10. sit i'th middle] Dingelstedt (p. 234) : This is clearly a reference to an
old English proverb \^Sprichwort'\ : * hey diddle diddle, fool in the middle.' [See
Roflfe's note below, on line 16.]
II. clap into't] Schmidt: To enter upon, to begin with alacrity and briskness.
Thus, Meas.for Meas. IV, iii, 43 : ' I would desire you to clap into your prayers; for,
262
AS YOU LIKE IT
[act V, sc. uL
or fpitting, or faying we are hoarfc, which are the onely
prologues to a bad voice.
2. Pa. I faith, y'faith, and both in a tune like two
gipfies on a horfe.
Song.
// was a Louery and his lajfe^
With a heyy and a hOy and a hey noninOj
T/iat dre the greene cornefeild did pajfe^
12
IS
19
12. the <mely\ only the Cap. conj.
Huds. your only Wh. i.
i8, 20, 21. As two lines each, Cap.
19. feild^ F..
look you, the warrant's come ' ; Much Ado^ III, iv, 44 : * Clap's into " Light o* Love,"
that goes without a burden.*
12. the onely] White (ed. i) : Hawking and spitting are often only the prologues
to a bad voice ; but no one .... can consider them the only premonitory symptoms
of that inflection, and it does not appear that * the only * was an old idiom for only
the. Your only^ meaning the chief, the principal, was, however, an idiom in common
use; and it seems plain that it is here intended, the printer having mistaken^ iox y*.
White (ed. ii) : * The only,' as if without * the ' ; only prologues. [See I, ii, 185.]
14, 15. a tune ... a horse] That is, one. Compare < Doth not rosemary and
Romeo both begin with a letter.* — Rom. ^ Jul. II, iv, 188.
16. Song] The music, with the words, which is here reprinted is taken from Chap-
pell's Popular Music of the Olden Time^ p. 205. The transposition of the stanzas
which we find here was also independently made by Dr Johnson, who says that it
had been also ' made by Dr Thirlby in a copy containing some notes on the margin '
which Dr Johnson had * perused by the favour of Sir Edward Walpole.' Malone's
slighting remark (in reference to Steevens's conjectiu^), that * the passage does not
deserve much consideration,' is expanded by Tieck into a very positive sneer. * It is
not impossible,' says Tieck (p. 212), 'that the arrangement of the stanzas of this
utterly silly ditty may have been intentionally adopted in the Folio to produce this
confused effect.' — Ed. Chappell : [This Song is taken] from a Qto MS, which
has successively passed through the hands of Mr Cranston, Dr John I^yden, and Mr
Heber ; and is now in the Advocates' Library, Edinburgh. It contains about thirty-
four songs with words (among them the * Farewell, dear love,* quoted in Twelfth
Night) y and sixteen song and dance tunes without. The latter part of the MS, which
bears the name of a former proprietor, William Stirling, and the date of May, 1639,
consists of Psalm Tunes, evidently in the same handwriting, and written about the
same time as the earlier portion. .... The words used here are printed from the MS
in the Advocates' Library.
It w as a lover and his lass, with a hey, with a ho, with a hey
i
non ne
ACT V, sc. iii.]
AS YOU LIKE IT
263
[Song]
no. And a hey . . . non ne no ni no.
That o'er the green com*field did pass In
spring time, in spring time, in spring time ; The only pretty ring time. When birds do sing. Hey
ding a ding a ding. Hey ding a ding a ding. Hey ding a ding a ding, Sweet lovers love the spring.
:« ^-^ ^ -^
S=t
^
^
i
±
^
±
[In the words which accompany the music, as given by Chappell, the chiefest varia-
tions are * ring t\me ' instead of * rang tune ' ; line 23 reads : • Then, pretty lovers,
take the time ' ; line 29 is : * These pretty country ^t?i[f did lie ' ; and line 33 : * How
that life was but a flower.'] Knight : It seems quite clear that this manuscript can-
not have been written later than sixteen years after the publication of the present play,
and may have existed at a much earlier period ; it is, therefore, not straining proba-
bility too hard to suppose that this air was, in some form, — ^most likely as a duet, unless
the two Pages sang in unison, — ^performed in the play, either as it was originally acted
or not long afler its production. Roffe (p. 16) : Mr Linley has set this poem as a
duct for the two Pages ; it occiu^ to me as being very possible that Shakespeare con-
templated a trio between the Pages and Touchstone, who, it may be observed, is the
first to ask for a song, and upon the Pages making ready to comply. Touchstone is
requested to ' sit i' the middle.' It might also strike many that, granting Touchstone
and the Pages personated by competent vocalists, the dramatic effect of a trio would
be very superior to that of a duett. Should an objection be raised to this view,
grounded upon the Pages' ideas as to * clapping into it roundly,' * both in a tune,* that
objection, even if allowed, would not necessarily shut Touchstone out from joining in the
three lines common to every verse^ and beginning at * In the pretty spring-time.' It would
De most highly natural, as well as dramatically effective, that Touchstone should do so.
18. Wright : In the Preface to his Ghostly Psalms, Coverdale {Pemains, p. 537,
Parker 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 nonyy nony, hey troly loly and such like phantasies.* [In serious poetry, Sir
Philip Sidney reached, I think, the extreme limit in the use of < such like phantasies,'
when he bequeathed to us the following stanza : < Fa la la leridan, dan dan dan deri-
dan : || Dan dan dan dcridan deridan dei : || While to my mind the outside stood ||
For messenger of inward good.' — Arcadia, p. 486, ed. 1598. — Ed.]
264 AS YOU LIKE IT [act v, sc. iii.
In the fpring tifnCj the onely pretty rang time. 20
When Birds do Jingyhey ding a dingy ding.
Sweet Louers loue the fpring ^
And therefore take the prefent time.
With a hey, & a ho, and a hey noninOy
For loue is crowned with the prime. 2$
In fpring time, &c,
Betweene the acres of the Rie,
With a hey y aft d a hOy& a hey nonino:
Thefe prettie Countryfolks would lie.
In fpring time, &c. 30
This Carroll they began that houre.
With a hey and a hOy& a hey nonino :
How that a life was but a Flower ^
In fpring time, &c.
Clo. Truly yong Gentlemen, though there was no 35
great matter in the dittie, yet y note was very vntunable
20. onely] Om. Rowe ii+, Cap. 30, 34. In] /« M^ F^F^, Rowe+,Cap.
Steev. '85. Steev. Dyce i, Clke.
rang] Ff, Rowe i, Cald. Spring 31. This] F,. 7)4^ FjF^, Rowe + , Cap.
Rowe ii + , Cap. rank Steev. Mai. Var. Steev.
ring Steev. conj. Knt et cet. 32. With a hey] With a hoy F,.
23-26. Transposed to follow line 34, 33. a life] our life Han. Coll. ii. life
Johns, et seq. (except Cald. Knt). Steev. '85.
26. In] Ff. In the Rowe + , Cap. 36. vntunable'] untimeable Theob.
Steev. Dyce i, Clke. Warb. Sing. Wh. Coll. ii, iii, Dyce iii,
Huds.
19. W. RiDGEWAY {The Academy, 20 Oct. 1883) : Is there not here a reference to
the ancient system of open-field cultivation ? The com-Beld being in the singular
implies that it is the special one of the common fields which is under com for the
year. The common field being divided into acre-strips by balks of unploughed turf,
doubtless on one of these green balks, * Between the acres of the rye These pretty
country folks would lie.*
20. rang] Steevens : I think we should read * ring time,' i, e. the aptest season
for marriage. Whiter (p. 60) : Why may not * rang time ' be written for * range
time,* the only pleasant time for straying or ranging about ? [The MS in the Advo-
cates* Library confirmed Steevens's conjecture.]
ifi. vntunable] Theobald : It is evident, fhim the sequel of the dialogue, that the
poet wrote untimeable. Time and * tune ' are frequently misprinted for one another
in the old editions. [It may be remarked, too, that time and tune were formerly syn-
onymous. — Dyce, Strictures, &c., p. 70.] Johnson : This emendation is received, I
ACT V, sc. ui.] AS YOU LIKE IT 265
I. Pa, you are deceiu'd Sir, we kept time, we loft not 37
our time.
Clo. By my troth yes : I count it but time loft to heare
fuch a foolifh fong. God buy you, and God mend your 40
voices. Come Audrie. Exeunt,
37. k^'\ keep FjF^. be with you Steev. Var. Cald. Knt, Sing.
40. buy you'\ Ff, Cam. b'^w'y you Ktly. b^ zui* youVih. Dyce, Huds.
Rowe + . be wi^ you Cap. Mai. Coll. Sta.
think very undeservedly, by Dr Warburton. M. Mason : The reply of the Page
proves to me, beyond any possibility of doubt, that we ought to read untimeable,
Steevens : The sense seems to be : * Though the words of the song were trifling, the
music was not (as might have been expected) good enough to compensate their defect.'
Caldecott : Though there was so little meaning in the words, yet the music fully
matched it ; the note was as little tuneable. Collier (ed. i) : Touchstone would
hardly say that * the note * of the song was very untinieabU. The Page might mis-
take the nature of Touchstone's remark, and apply to the time what was meant of
the tune : the clown subsequently hopes that their voices may be mended, in order
that they may sing more tunably. Collier (ed. ii) : Here the (MS) comes mate-
rially to oiu- aid; the printed reading is amended to untimeable ^viMxK^ entirely accords
with what follows. Walker {Crit. 1,295) would retain *vntunable,' but change
* time ' in the Page's reply to tune. White : Shakespeare was a good musician ; and
the answer of the Page and the reply of Touchstone make it plain that [the word is]
untimeable ; otherwise the Page's answer is no reply at all. In the manuscript of any
period it is very difficult to tell Hme from tune^ except by the dot of the », so fre-
quently omitted ; and as most people think that to be in tune or out of tune is the
principal success or the principal failure of a musical performance, it is by no means
strange that the word written in the old hand, with the i undotted, should be taken
for * untunable.' I can speak from experience that in ninety-nine cases out of a hun-
dred in which time is written, it will be first put in type as tune. One curious instance
occurs in King John^ III, iii : * I had a thing to say. But I will fit it with some better
time.' The original has * some better tune.^ Wright : Theobald forgot that Touch-
stone is the speaker. The Page misunderstands him in order to give him an opening
for another joke. Cowden-Clarke : * Untunable ' was sometimes used in Shake-
speare's day for ' out of time ' as well as ' out of tune,' and it is probable that pert
Master Touchstone wished to insinuate both defects in the Pages' singing ; while the
First Page defends himself and his fellow-chorister from the more pardonable musical
error of the two. This may be the better comprehended if it be imagined (as we
always do when we read this amusing little scene, so pointed in satire as it is upon the
affectations of musical amateurs, both performers and listeners) that Touchstone, with
the air of a connoisseur, beats time to the music while the song is proceeding ; which
accotmts for the Page's words in answer to the action that preceded the word ' untun-
able,' and gave it the meaning then oflen attached to the term. Be it observed that
the Second Page's words immediately before the song * both in a tune^ &c. tend to
show that ' in a tune ' was sometimes used for ' in time ' ; as the simile of two fellows
jogging along on the same horse implies measure, rhythm, uniform pace.
266
AS YOU LIKE IT
[act V, sc. iv.
Scena Quarta.
Enter Duke Senior j Amy ens y laques, Orlan-
doy Oliuerj Celia.
Du, Sen, Doft thou beleeue Orlando^ that the boy-
Can do all this that he hath promifed ?
OrL I fometimes do beleeue, and fomtimes do not,
As thofe that feare they hope, and know they feare.
5
Scene V. Pope, Han. Warb. Johns.
6. feare ...feare"] Ff, Rowe, Pope,
Theob. Steev. Var. Rann, Cald. Har-
ness, Coll. i, Sing. Wh. Dyce, Hal.
Sta. Cam. Clke, Neil, Mob. Rife, think
they hope, and know they fear Han.
fear, they hope, and know they fear
Johns. Mai. fear their hope, and know
their fear Heath, Cap. fear, — they
hope and know they fear Knt. fear
to hope, and know they fear Coll. (MS)
ii, iii, Huds. fear their hope and hope
their fear Lettsom, Ktly. fear with hope.
and hope with fear or fear, they hope,
and now they fear Johns, conj. ffign
they hope, and know they fear Black -
stone, fear, then hope; and know, then
fear Musgrave. who fearing hope, atid
hoping fear M. Mason, fear ; they hope,
and know they fear Henley, J. Hunter.
fear thee, hope, and know thee, fear
Rann. conj. fear may hope and know
they fear Harness conj. fear that they
hope, and know they fear Jervis. fain
would hope and know they fear Cart-
wright.
I. Dyce : This ought, perhaps, to be marked * Another part of the Forest. Before
a Cottage.'
6. As . . . feare] Warburton : This strange nonsense should be read thus : *A8
those that fear their hap, and know their fear,' i. e. As those that fear the issue of a
thing when they know their fear to be well grounded. Heath (p. 153) : I think it
may be better corrected with less alteration, thus : *As those that fear their hope, and
know their fear,' i. e. As those that fear a disappointment of their hope, whose hope
is dashed and rendered doubtful by their fear, but who are most undoubtedly certain
they fear. Malone : As those who fear, — they, even those very persons, entertain
hopes that their fears will not be realized ; and yet at the same time they well know
that there is reason for their fears. Caldecott : As those, that under a sad misgiv-
ing entertain a trembling hope, at the same time that they feel real apprehension and
fears. A man might, with propriety, say, I fear I entertain so much hope, as teaches
me I cannot be without fear of disappointment. Orlando says he is like that man.
Knight ; That is, those who fear, they, even they, hope, while they know they fear.
Collier : Orlando dares not hope that Rosalind will perform her promise, yet hopes
that she will, and knows that he fears she will not. Singer : As those who are
alarmed at their own tendency to be sanguine (fear that they are harbouring secret
hopes which will lead to disappointment), and are quite aware that they fear. Hope
and Fear alternating, they are not quite certain whether they hope, but fear they do.
They fear, because to hope is imprudent : — they are quite certain that they fear. Dyce
(ed. i): I believe that the line now stands as Shakespeare wrote it. White: As
ACT V, sc iv.] AS YOU LIKE IT 267
Enter Ro/alinde^ Siluitis, & Phebe. 7
Rof. Patience once more, whiles our c6pa<5l is vrg'd:
You fay, if I bring in your Rofalindey
You wil beftow her on Orlando heere? 10
Du, Se. That would I, had I kingdoms to giue with hir.
i?^And you fay you wil haue her, when I bring hir?
Or/. That would I, were I of all kingdomes King.
Ro/. You fay,you'l marrie me, if I be willing.
P/ie. That will I, fhould I die the houre after. 1 5
Ro/. But if you do refufe to marrie me,
You'l giue your felfe to this mod faithfull Shepheard.
PAe. So is the bargaine.
Ro/. You fay that you'l haue PAeie if fhe will. 19
8. ^?/<z^] compact Ff. 12. [To Orl.] Rowe ct seq. (except
vr^d^ heard Coll. (MS). Cap. Cam. Wh. ii, Rife).
9. [To the Duke] Rowe et seq. (ex- 14. [To Phe.] Rowe et seq. (except
cept Cap. Cam. Wh. ii, Rife). Cap. Cam. Wh. ii, Rife).
II, 12. hir\ F,. herY^^, 19. [To Sil.] Rowe et seq. (except
Cap. Cam. Wh. ii, Rife).
those who are apprehensive that they are deceiving themselves by indulging a secret
hope, although they know they fear the issue, — a state of mind in which few readers
of Shakespeare can have failed to be at some time. Apology is surely necessary for
offering even a paraphrastic explanation of so simple a passage. Halliwell : As
those that fear what they hope, and know very well they fear a disappointment.
Staunton : This line, not without reason, has been suspected of corruption A
somewhat similar form of expression is found in AlVs Welly II, ii : * But know I
think, and think I know most sure.' Keightley: Coleridge thus expresses the
same thought : 'And Fears self-willed, that shunned the eye of Hope ; And Hope
that scarce would know itself from Fear.' Cowden-Clarke : Those who dread that
they may be hoping without foundation, knowing that they really fear. Moberly :
Of the many conjectures for the emendation of this passage the most likely is John-
son's [qu. Heath's ?] : *As they who fear their hope and know their fear.* Hudson :
As those that fear lest they may believe a thing because they wish it true, and at the
same time know that this fear is no better ground of action than their hope. Who
has not sometime caught himself in a similar perplexity of hope and fear ? Wright :
Who are so diffident that they even hope fearfully, and are only certain that they
fear. RoLFE : Whose hopes are mingled with fear, and only their fears certain. [In
the preceding notes, it is pleasing to observe, in the general interpretation of the
meaning, such a remarkable unanimity. — Ed.]
8. c6padt] See Abbott, § 490, for a long list of words, chiefly derived from the
Latin, where the accent is nearer the end than with us.
8. vrg'd] Collier : The (MS) has heard for * urg'd,* and the ear may have
misled the scribe or the printer ; but as *■ urg'd ' sufficiently well answers the pur-
pose, we refrain from making any change. Dyce : Heard is unnecessary, not to say,
foolish.
Hife
k^.
268 AS YOU LIKE IT [act v, sc, iv.
Sil. Though to haue her and death, were both one 20
thing.
Rof, I haue promised to make all this matter euen :
Keepe you your word,0 Duke, to giue your daughter,
You yours Orlando^ to receiue his daughter :
Keepe you your word Phebe^^zX. you'l marrie me, 25
Or elfe refufmg me to wed this fhepheard :
Keepe your word SiluiuSy that you'l marrie her
If fhe refufe me, and from hence I go
To make thefe doubts all euen. Exit Rof. and Celia. 29
22. I haui] Pve Pope + , Dyce iii, Mai. Sing. Cam. Ktly, Dyce iii, Huds.
Huds. Rife, Wh. ii.
25. ^tw] Om. Rowe + , Cap. Stcev. 29. cuen\even — ^z/^it x^ Coll. (MS) ii,
• • •
lU.
22. euen] Schmidt : That is, plain, smooth. Compare what the Doctor says of
Lear, * 'tis danger to make him even o'er the time he has lost.' So, too, the last line
of this speech of Rosalind's, where Steevens cites : '' yet death we fear That makes
these odds all even.' — Meas. for Meas. Ill, i, 41.
25. Phebe] Is ' Phebe ' a monosyllable or a dissyllable? A momentous question.
If a dissyllable, then we must follow Pope and read : * Keep your word,* wherein the
ictus falls excellently on * your.' If the present text is to stand, then is * Phebe * a
monosyllable ; as an affectionate abbreviation it seems utterly out of place in Rosa-
lind's mouth. See IV, lii, 9. — Ed.
25, 26. that you'l ... to wed] Abbott, §416: Just as that is sometimes omitted
and then inserted to connect a distant clause with a Brst part of a sentence, so some-
times < to ' is inserted apparently for the same reason. Here *■ to ' might be omitted,
or [< you'll '] might be inserted instead, but the omission would create ambiguity, and
the insertion be a tedious repetition. See III, ii, 152, 153.
29. Collier : The line is deficient, and we may be confident, from the rhyme, if
from nothing else, that the speech of the heroine was originally thus concluded : * To
make these doubts all even— even so.' [This is one of the class of changes in
Shakespeare's text which, I am sure, aroused the sharpest antagonism to Collier's old
corrector's emendations, — an antagonism which, when once started, quickly spread to
all the other emendations from the same source. It is one thing to change the words
we have before us, but it is another, and a very different thing, to add words entirely
new. In the one case we are groping afler Shakespeare's genuine words which we
know stood there. But in the other case we are asked to accept words, and phrases,
and even whole lines, which could not possibly have been written on the margin of
Collier's Second Folio until after Shakespeare had been sixteen years in his grave.
Before giving these additions place in Shakespeare's text we must have some plainer
plea for them than mere propriety. The gulf which separates this class and Shake«
speare's hand is impassable. All other changes may be tried on their merits ; the
question of * forgery ' (a most disagreeable word, even to write) has nothing to do
with them. On many grounds I have faith in Collier : first, there is in all of his
pleadings that I have read on the subject the quiet breast of truth ; he is never violent,
ACTV. sc. iv.] AS YOU LIKE IT 269
Du. Sen, I do remember in this fhepheard boy, 30
Some liuely touches of my daughters fauour.
OrL My Lord, the firft time that I euer faw him,
Me thought he was a brother to your daughrer :
But my good Lord, this Boy is Forreft borne.
And hath bin tutor'd in the rudiments 35
Of many defperate ftudies, by his vnckle,
Whom he reports to be a great Magitian.
Enter Clowne and Audrey.
Obfcured in the circle of this Forreft.
laq. There is fure another flood toward, and thefe 40
couples are comming to the Arke. Here comes a payre
30. Jhepheard'\Jhepherds F^. 38. Enter...] After line 43, Dyce.
33. daughter^ F,. Clowne] Touchstone Mai.
37. Whom\ Who F^F^, Rowe i. 40. Scene VI. Pope, Han. Warb.
Magitian."] Ff. Johns.
nor, when severe, abusive ; secondly, he had not the ability, the natural g^fts, as he
himself urged, to devise so vast a number of corrections ; in none of his previous edit-
ings, and they are voluminous, did he give promise of that fertility of conjecture or of
emendation which the old corrector displays on every page ; and thirdly, and mainly
(a ground any criminal lawyer will immediately appreciate), there is an entire absence
of motive. Dishonesty would have copied out all these emendations, flames would
have consumed the original, and the fame fearlessly claimed (and as surely bestowed)
as the keenest editor Shakespeare had ever had. With such a chance before him of
being deemed the author, would a dishonest man be content with the reputation of a
mere transcriber ? Does a man * forge ' for the benefit of another who can make him
no return ? Does the fame of a mere scribe equal the fame of an author ? Had Col-
lier been dishonest he would have seized the latter. He openly assumed the former.
—Ed.]
31. touches] Caldecott: That is, traits. See *the touches dearest priz'd.'^
in, ii, 151. Wright : As Orlando does not recognise Rosalind in her disguise, it is
not surprising that her father fails to do so. But his curiosity is excited, and the
inquiries which must certainly have followed upon Orlando's speech are checked by
the entry of Touchstone and Audrey.
36. desperate] Allen (MS) : Magical studies (sorcery, &c.) were supposed to be
pursued by men who had made a league with the Devil, and who had, therefore,
already despaired ofy or renounced, their salvation ; that is, they would not, unless they
had already come to despair of their salvation, have made a league with the Enemy
of mankind. Cf. Friar Bacon, for the union of * religion ' and magic. Observe, too,
this is Orlando's statement ; Rosalind says the < magician was most profound in his
art, and yei not damnable* — V, ii, 62. [Prospero, in the Epilogue to TTie Tempest,
says, as a magician, that his < ending is despair.' Schmidt interprets it as * forbidden
by law,* which is, I think, far afield. — Ed.]
40. toward] Compare < O proud Death, What feast is toward in thine eternal cell.'
^Ham, V, ii, 375.
270 AS YOU LIKE IT [act v. sc. iv.
of verie ftrange beads, which in all tongues, are call'd 42
Fooles.
Clo. Salutation and greeting to you all.
laq. Good my Lord, bid him welcome : This is the 45
Motley-minded Gentleman, that I haue fo often met in
the Forreft: he hath bin a Courtier he fweares.
Clo. If any man doubt that, let him put mee to my
purgation, I haue trod a meafure, I haue flattred a Lady,
I haue bin politicke with my friend, fmooth with mine 50
enemie, I haue vndone three Tailors, I haue had foure
quarrels, and like to haue fought one.
laq. And how was that tane vp ?
Clo. 'Faith we met, and found the quarrel was vpon
the feuenth caufe. 55
42. verie Jlrange'\ unclean Han. 53. tane'\ to* en Rowe.
Warb.
42. verie strange] Warburton : What * strange beasts * I and yet such as have a
name in all languages ! Noah's ark is here alluded to ; into which the clean beasts
entered by sevens^ and the unclean by two^ male and female. It is plain then that
Shakespeare wrote * a pair of unclean beasts,* which is highly humorous. Johnson :
* Strange beasts ' are only what we call odd animals. White : There were female
jesters as well as male, and it is possible that there may be here an allusion to that cus-
tom, — ^Audrey being whimsically supposed by Jaques to have assumed the profession
as well as the station of her husband. Else why does he call them a pair of Fools ?
49. measure] Malone : Touchstone, to prove that he has been a courtier, par-
ticularly mentions a < measure,* because it was a very stately, solemn dance. Reed :
* Measures * were performed at court, and at public entertainments of the societies of
law and equity at their halls, on particular occasions. It was formerly not deemed
inconsistent with propriety even for the gravest persons to join in them ; and accord-
ingly at the revels which were celebrated at the Inns of Court it has not been unusual
for the first characters in the law to become performers in treading the measures.
See Dugdale's Origines Juridiciales, Sir John Davies, in his poem called Orchestra^
1622, describes them [concluding with] : * Yet all the feet wherein these measures
go, Are only spondees, solemn, grave, and slow.* Chappell (p. 626) : The * meas-
ure ' was a grave and solemn dance, with slow and measured steps, like the minuet.
To tread a measure was the usual term, like to walk a minuet. [ Yoimg Lord Loch-
invar has made us familiar enough with the phrase.^ED.]
52. like] Craik (note on *is like.* — Jul. Cas. I, ii, 175) : This form of expression
is not quite, but nearly, gone out Rolfe : It is still vulgarly used, at least in New
England.
53. tane] Caldecott : That is, made up. Touchstone presently sajrs, an if did
it once, ' when seven justices could not take up a quarrel.*
54. was vpon] Johnson : It is apparent from the sequel that we must read, * the
quarrel was not upon the seventh cause.* Malone : By * the seventh cause * Touch-
ACT V, sc. iv.] AS YOU LIKE IT 271
laq. How feuenth caufe ? Good my Lord, like this 56
fellow.
Du. Se. I like him very well.
Clo, God'ild you fir, I defire you of the like : I preffe
in heere fir, amongft the reft of the Country copulatiues 60
to fweare, and to forfweare, according as mariage binds
and blood breakes : a poore virgin fir, an il-fauor'd thing
fir, but mine owne, a poore humour of mine fir, to take
that that no man elfe will : rich honeftie dvvels like a mi-
fer fir, in a poore houfe, as your Pearle in your foule oy- 65
fter.
Du, Se. By my faith, he is very fwift, and fententious.
C/o, According to the fooles bolt fir, and fuch dulcet
difeafes. " 69
56. fetunth'\ the fevtnth F F , Rowe 61, 62. binds.., breakes] bids tmd blood
+ , Coll. i, Dyce iii, Huds. bids break Warb. conj.
59. you of] of you Han. Warb. 65. foule] Om. F^F^, Rowe i.
stone, I apprehend, means the lie seven times removed ; i. e. *■ the retort courteous/
which is removed seven times (counted backwards) from the lie direct, the last and
most aggravated species of lie. See the subsequent note on line 72.
59. God'ild you] See III, iii, 69.
59. desire you of the like] See I, ii, 53.
60. copulatiues] Wright : Who desire to be joined in marriage. For the force
of the termination -ii^e in Shakespeare see III, ii. 1 1.
61. 62. sweare . . . breakes] Henley : A man, by the marriage ceremony,
rwears that he will keep only to his wife ; when, therefore, he leaves her for another,
blood breaks his matrimonial obligation, and he is forsworn. [It is a case of respect-
ive construction ; * to swear * refers to * marriage^ and * to forswear * refers to * blood.'
Dyce or Schmidt will furnish many examples where * blood' means temperament,
passion. — Ed.]
62. Weiss (p. 116) : We see Touchstone's good sense, too, in the scene where he
brings his wife into the Duke's company, with such an air of self-possession mixed
with a pleased sense that she is his best joke at the punctilio of fashionable life.
64. honestie] Again used as Celia and Audrey have used it before.
67. swift, and sententious] Caldecott : Prompt and pithy.
68. fooles] Another variation in the old copies. The Cam. Ed. here records y^/fx
in F,. In my copy it \s fooles. — Ed.
68, 69. dulcet diseases] Johnson : This I do not understand. For < diseases '
it is easy to read discourses ; but perhaps the fault may lie deeper. Capell : ^ Dul-
cet diseases ' mean wits or witty people ; so call'd because the times were infested
with them ; they and fools — that is, such fools as the speaker — ^being all their delight.
Steevens : Perhaps he calls a proverb a disease. Proverbial sayings may appear to
him the surfeiting diseases of conversation. They are often the plague of commenta-
tors. Dr Farmer would read : *■ in such dulcet diseases,' i. e. in the sweet uneasiness
of love, a time when people usually talk nonsense. Malone : Without staying to
iiik»tl*<
272 AS VOLT LIKE IT [act v. sc. iv.
laq. But for the feuenth caufe . How did you finde 70
the quarrcll on the feuenth caufe ?
Clo, Vpon a lye, feuen times remoued : (beare your 72
examine how far the position last advanced is founded on truth, I shall only add that
I believe the text is right, and that this word is capriciously used for sayings^ though
neither in its primary nor figurative sense has it any relation to that word. In The
Mer. of Vtn. the Clown talks in the same style, but more intelligibly. M. Mason :
For * diseases ' we should probably read phrases, unless we suppose that Shakespeare
intended that the Clown should blunder ; and Touchstone is not one of his blunder-
ing clowns. Wright ; The Clown only shares the fate of those, even in modem
times, who use fine phrases without understanding them, and ' for a tricksy word defy
the matter.' Walker (CnV. iii, 64): He is resuming his former speech; point, if
the names be rightly prefixed to the characters : * as your pearl in your foul oyster ;—
Duke Sen. By my faith, he is very swift and sententious. Touchstone. According to
the fool's bolt, sir; — and such dulcet diseases — Jaques. But, for the seventh cause;
how did you find,' &c. But I have scarcely any doubt that the parts ought to be dis*
posed thus : * — and sententious. Jaques. According to the fool's bolt, sir. Touch-
stone. And such dulcet diseases,' &c. [TiESSiN (Englische Studien, II, ii, p. 454)
conjectures that possibly Touchstone means to say < dulcet diesisesJ It is such fan-
tastic tricks as this which, now and then, Germans will insist upon playing before
high Shakespeare, that make the judicious English critic grieve, and stone his heart
against all foreign meddling with the language of these plays. Schlegel omitted the
phrase, having detected in it, — ^what no English commentator has detected, — some-
thing which, so he says, had better remain untranslated. — Ed.]
72. seuen times remoued] Malone: Touchstone here enumerates seven kinds
of lies, from the * Retort courteous ' to the seventh and most aggravated species of lie,
which he calls. the *lie direct.' The courtier's answer to his intended af&ont he
expressly tells us was * the Retort courteous,' the first species of lie. When, there-
fore, he says that Xhey found the quarrel was on * the lie seven times removed, we
must understand by the latter word, the lie removed seven times, counting backwards,
(as the word removed seems to intimate,) from the last and most aggravated species
of lie, — namely, * the lie direct.' So, in A IPs Well: * Who hath some four or five
removes come short To tender it herself.* Again, in the play before us : * Your accent
is something finer than you could purchase in so removed a dwelling,' i. e. so distant
from the haunts of men. When Touchstone and the coiutier met, they found their
quarrel originated in the seventh cause, i. e. on the Retort courteous or the lie seven
times removed. In the course of their altercation after their meeting, Touchstone did
not dare go further than the sixth species, (counting in regular progression from the
first to the last,) the lie circumstantial ; and the courtier was afraid to give him the
lie direct ; so they parted. In a subsequent enumeration of the degrees of a lie,
Touchstone expressly names the Retort courteous as the first ; calling it, therefore,
here * the seventh cause,' and * the lie seven times removed,* he must mean distant
seven times from the most offensive lie, the lie direct. There is certainly, therefore,
no need of reading with Dr Johnson in a former passage : * the quarrel was not in the
seventh cause.* [It is, I am afraid, a waste of time to attempt to reconcile any dis-
crepancy in Touchstone's category of lies and causes. There can be no doubt that
his * Lie circumstantial ' was not the seventh cause, although the lie may have been
seven times removed. One single, simple question will, I think, show Malone's fal-
ACT V, sc. iv.] AS YOU LIKE IT 273
bodie more feeming Audry) as thus fir : I did diflike the 73
cut of a certaine Courtiers beard : he fent me word, if I
faid his beard was not cut well, hee was in the minde it 75
was : this is call'd the retort courteous. If I fent him
word againe, it was not well cut, he wold fend me word J J
77. iw/] Om. FjF^, Rowe i.
lacy. If the Retort courteous be the seventh cause, as he says it is, what was the
eighth cause or the ninth cause, for Touchstone had not exhausted the tale ? We may
count the *• lies ' backwards, but the < causes ' forwards. And in that case Touch-
stone's computation of causes is wrong. Halliwell, however, makes him out to be
right. — Ed.] Halliwell : In Touchstone's calculation the quarrel really was, or
rather depended upon, the lie directy or the seventh cause. Six previous causes had
passed without a duel ; there were six modes of giving the lie, none of which had
been considered sufficient to authorise a combat ; but the seventh, the He direct ^ would
have been the subject of the quarrel, and this is also what is to be understood by a
* lie seven times removed.* The absurdity of the dispute just terminating before the
necessity of fighting had arrived, and of there being two lies of higher intensity than
the countercheck quarrelsome * I lie,* is evidently intentional.
73. seeming] Steevens : That is, seemly. * Seeming * is often used by Shake-
speare for becoming, ov fairness of appearance. [But * seeming * is here used adverb-
ially, and is not * often * so foimd. — Ed.] Daniel (p. 38'^ : No editor, I presume,
would venture to alter * seeming * in this phrase ; but the following passages may sug-
gest a doubt whether we have the right word : * she, with pretty and with swimming
gait.* — Mid. N. D. II, ii. * Where be your ribbands, maids? Swim with youi
bodies. And carry it sweetly and deliverly.' — Beau. & Fl. Two Noble Kins. Ill, v.
* Carry your body swimming.^ — Massinger, The Bondman, III, iii. * Come hither,
ladies, carry your bodies swimming.^ — Massinger, A Very Woman, III, v. The fol-
lowing passage from Steele's Tender Husband, III, i, may be interesting as showing
the sense in which the phrase was understood at a later period : ' Your arms do but
hang on, and you move upon joints, not with a swim of the whole person.' Elzb
{^Sh. Jahrbuch, xi, 284) : To the passages which Daniel has brought forward in sup-
port of his brilliant conjecture, another may be added which shows unmistakably
that a ' swimming gait ' was a fashion of the day. It is as follows : * Carry your body
in the swimming fashion.^ — Chapman, The Ball, II, p. 494, ed. Shepherd.
73. dislike] Staunton : * Dislike ' here imports not merely the entertaining an
aversion, but the expressing it; so in Meas. for Afeas. I, ii, 18: * I never heard tJij
soldier dislike it.' Also in [the passage fix>m] Beau. & Fl. Queen of Corinth, IV, i
[quoted by Warburton] : * has he familiarly Dislik'd your yellow starch ? or said your
doublet Was not exactly Frenchified ?' [Dyce also gives this especial meaning of
* dislike ' here. It escaped Schmidt. The rest of Warburton's quotation from 77ie
Queen of Corinth, p. 457, ed. Dyce, which was cited to illustrate, not this word * dis-
like,* but Touchstone*s degrees of a lie, is as follows : * has he given the lie In circle,
or oblique, or semi-circle. Or direct parallel ? you must challenge him.' See also
Jonson's Alchemist, p. 107, ed. Gifford, where the safety that lies in quarrels is esti-
mated in half-circles, acute and blunt angles, &c., &c., and the whole subject is ridi-
culed. — Ed.]
z8
274 A^ you LIKE IT [act v. sc. iv.
he cut it to pleafe himfelfeithis is calPd the quip modeft, 78
If againe, it was not well cut, he difabled my iudgment:
this is called, the reply churlifh. If againe it was not well 80
cut, he would anfwer I fpake not true : this is calPd the
reproofe valiant. If againe, it was not well cut, he wold
fay, I lie : this is call'd the counter-checke quarrelfome :
and fo ro lye circumftantiall,and the lye direfl.
laq. And how oft did you fay his beard was not well 85
cut?
Clo. I durft go no further then the lye circumftantial:
nor he durft not giue me the lye direft : and fo wee mea-
fur'd fwords, and parted.
laq. Can you nominate in order now, the degrees of 90
the lye.
Clo, O fir, we quarrel in print, by the booke : as you 92
83. I lie] I /t'fd Han. Cap. Glo. Dyce 84. /o ro] so th€ Rowe + . fo to the
iii, Coll. iii, Huds. Wright, Rife, Wh. ii. Ff, Cap. et cet.
78. quip] Wright : Cotgrave explains * Sobriquet * as * A surname ; also, a" nick-
name, or byword ; and a quip or cut giuen, a mocke or flowt bestowed, a ieast broken
on a mkn.* .... Another form of the word is quibf which is found in Coles's Dict,y
and in Webster it is given on the authority of Tennyson in a quotation from The
Death of the Old Year, 1. 29. I have, however, been unable to find it in any Eng-
lish edition. [And I in any American. — Ed.]
79. disabled] See IV, i, 34 : * disable all the benefits,' &c.
83. lie] Hanmer's change is as good as it is trifling.
92. booke] Theobald : The boisterous Gallants in Queen Elizabeth's reign did
not content themselves with practising at the Sword in the Schools, but they studied
the Theory of the Art, the Grounding of Quarrels, and the Process of Challenging,
from Lewis de Caranza's Treatise of Fencings Vincentio Saviola's Practise of the
Rapier and Dagger ^ and Giacomo di Grassi's Art of Defence. Warburton : The
particular book here alluded to is a very ridiculous treatise of one Vincentio Saviolo,
1594. [Only the Second Book is dated 1594;, the First is 1595, but as, in The Epis-
tle Dedicatorie, the Earl of Essex is requested to accept this book as * a new yeeres
gifte,' both books were probably struck off" in 1594, and the latest possible date given
only to the First. It is from the First Book that we learn the use of the terms that
Mercutio ridicules, *the immortal passado! the punto reverso!' &c. The Second
Book treats *0f Honor and Honorable Quarrels,' and these are the 'quarrels in
print ' to which it is supposed Touchstone alludes ; in especial there is *A Discourse
most necessarie for all Gentlemen that haue ip regarde their honors. touching the giu-
ing and receiuing of the Lie, wherevpop the Duello & the Combats in diuers sortes
doth insue, & many other inconueniences, for lack only of the true knowledge of
honor, and the contrarie : & the right vnderstanding of wordes, which heere is plainly
set downe.' Whereupon, to guard us from these * inconveniences ' and impart to us
* a right understanding of wordes/ Saviolo proceeds to discourse ' Of the manner
ACT V. sc. iv.] . AS YOU LIKE IT 275
[we quarrel in print, by the booke]
and diuersitie of Lies.' First comes * Of lies certaine ' ; this was supposed by War-
burton to correspond to Touchstone's * lie direct,' but erroneously, I think. For a * lie
certain ' it is requisite * that the cause whereupon it is giuen, be particularlye specified
and declared.' It is the quality of the lie, not the terms of the answer, which must
be * certaine.* Then comes * Of conditionall Lyes.' Here Warburton was nearer right
in finding a correspondence to Touchstone's * lie circumstantial.* * Conditionall lyes,'
says Saviolo, ' be such as are giuen conditionally : as if a man should sale or write
these woordes, If thou hast saide that I haue offered my Lord abuse, thou lyest : or if
thou saiest so heerafter, thou shalt lye. And as often as thou hast or shalt so say, so
oft do I and will I say that thou doest lye. Of these kinde of lyes giuen in this man-
ner, often arise much contention in words, and diuers intricate worthy [jiV] battailes,
multiplying wordes vpon wordes whereof no sure conclusion can arise.' * By which
he means,' says Warburton, * they cannot proceed to cut one another's throats, while
there is an if between. Which is the reason of Shakespeare's making the Clown
say " I know seven justices," &c.' Saviolo, however, utterly disapproved of condi-
tional! lies, of which the issue is always doubtful. * Therefore,' he pluckily concludes,
' not to fall into any error, all such as haue any regarde of their honor or credit, ought
by all meanes possible to shunne all conditionall lyes, neuer geuing anie other but cer-
tayne Lyes : the which in like manner they ought to haue great regarde, that they
griue them not, vnless they be by some sure means infallibly assured, that they giue
them rightly, to the ende that the parties vnto whome they be giuen, may be forced
without further Ifs and Ands, either to deny or iustifie, that which they haue spoken.*
Then follow short chapters, * Of the Lye in generall,' * Of the Lye in particular,' * Of
foolish Lyes,' and finally, *A Conclusion touching the Challenger and the Defender,
and of the wresting and returning back of the lye, or Dementie.* Warbiuton cites
this last chapter thus : 'A conclusion touching the wresting or returning back of the
lye,' and thereupon interprets it, * or the countercheck quarrelsome,' — a quotation as
unfairly stated as its interpretation is unwarranted ; the contents of the chapter are
clearly defined by its title, and have nothing whatever to do with * quarrelsome counter-
checks.' (It is not needless thus to criticise Warburton ; he has been blindly followed
by more than one editor.) Who will refuse a sympathetic response to Saviolo's pious
sigh of relief as he concludes the whole matter ? *And so (God be thanked) we finde
that almost we haue dispatched this matter, no lesse vneasie (as it is sayd before) to be
handled & vnderstood, than necessary to be ktiowen of all caualiers and Gentlemen.'
It is doubtful if too much importance has not been attached to this book of Saviolo.
Its connection with Touchstone's speech is really very slight ; there is in it nothing of
the enumeration of causes, and there can be scarcely a doubt that the names for the
* degrees ' are wholly Shakespeare's own. There is, however, another book wherein
the * causes ' of quarrels, to judge by its title, are expressly mentioned, and it, rather
than Saviolo, would seem to be the * booke ' referred to by Touchstone, if he referred
to any special book at all. Its title runs : TTie Booke of Honor and Amies y wherein
is discoursed the Causes of Quarrelly and the nature of IniurieSy with their Repulses^
&c. 4to, 1590. In all likelihood this volume was well sifted by Malone, and the fol-
lowing is apparently the only extract which he found germane to Touchstone's speech :
* Another way to procure satisfaction is, that hee who gave the lie, shall say or write
unto the partie belied to this cfTect : I pray you advertise me by this bearer, with what
intent you spake those words of injurie whereupon I gave you the lie. The other
will answere, I spake them in choller, or with no meaning to offend you. Thereimto
276 AS YOU LIKE IT [act v. Sc. iv,
haue bookes for good manners : I will name you the de- 93
grees. The firft, the Retort courteous : the fecond, the
Quip-modeft : the third, the reply Churlifh : the fourth, 95
the Reproofe valiant : the fift, the Counterchecke quar-
relfome : the fixt, the Lye with circumftance : the fea-
uenth, the Lye direfl : all thefe you may auoyd, but the
Lye direfl : and you may auoide that too , with an If. I
knew when feuen luftices could not take vp a Quarrell, lOO
but when the parties were met themfelues, one of them
thought but of an If; as if you faide fo, then I faide fo :
and they fhooke hands, and fwore brothers. Your If, is
the onely peace-maker : much vertue in if.
lag. Is not this a rare fellow my Lord ? He's as good 105
at any thing, and yet a foole.
Du, Se. He vfes his folly like a ftalking-horfe, and vn-
der the prefentation of that he fhoots his wit. 108
9^t 97' /fi-'J^^O F.- fifth. ,.ftxth 105. aj] Om. Rowe + , Steev. '85.
FjF^. 108. Scene VII. Pope + .
100. take^ make Quincy (MS).
may be answered by him again that gave the lie thus : If your words were said onlie
in anger and no intent to challenge me, then I do assure you that my lie given shall
not burthen you, for I acknowledge you to be a true speaker and a gentleman of good
reputation : wherefore my desire is that the speech passed between us may be forgot-
ten. This mode of pacification may serve in many cases, and at sundrie occasions.'
Sorry enough, as far as 3rielding hints for Touchstone's speech is concerned ; it is not
even as fruitful as Saviolo's Practise^ for all the promise of its title. Wherefore I do
greatly doubt if any particular book was hinted at by Shakespeare, or that there was
any one book in that day which was so widely known that Shakespeare's promiscuous
audience would have instantly recognised the allusion. The very essence of a popu-
lar allusion is that what is alluded to, should be popular. — Ed.]
93. bookes for good manners] Furnivall has edited for the Early English Text
Society y 1868, many of these * books of manners,* including Hugh Rhodes's Boie of
Nurture^ mentioned by Steevens. It is an invaluable compilation, enriched with
exhaustive Prefaces. Again, for the same Society in the same year the same Editor
reprinted Caxton's Book of Curtesye. — Ed. Wright : These * books ' are like * the
card or calendar of gentry ' to which Osric compares Laertes, evidently in allusion to
the title of some such book.
102. as] Walker [Crit. i, 129) cites this as an instance of the use of or in the
sense of to wit. Compare Jaques's Seven Ages : ^As first, the infant,' &c.
103. swore brothers] Rolfe: Like \ht fratres jurati, who took an oath to share
each other's fortunes.
107. stalking-horse] Steevens (note on Much Ado, II, iii, 95) : A horse, either
real or fictitious, by which the fowler anciently sheltered himself from the sight of the
game. So in the 25th Song of Drayton's Poly-olbion : < One underneath his horse to
ACT V. sc. iv.] AS YOU LIKE IT rjj
Enter Hymen, Rofalindy and Celia,
Still Muficke. 1 10
Hymen. Then is there mirth in heauen^
When earthly things made eauen
attone together. 113
109. Rofalind] Rosalind in Woman's their proper Dress. Ros. led by a Per
Qoths. Rowe. Rosalind and Celia in son presenting Hymen. Cap.
113. attone] atone Rowe.
get a shoot doth stalk.' Reed : Again in Nao Shreds of the Old Snare, 1624, by
John Gee : * Methinks I behold the cunning fowler, such as I have knowne in the
fenne countries and els- where, that doe shoot at woodcockes, snipes, and wilde ibwle,
by sneaking behind a painted cloth which they carrey before them, having pictured in
it the shape of a horse ; which while the silly fowle gazeth on, it it knockt down with
hale shot, and so put in the fowler's budget.'
108. presentation] Schmidt : Show (deceptions), semblance.
109. Hymen] Johnson : Rosalind is imagined by the rest of the company to be
brought by enchantment, and is therefore introduced by a supposed aerial being in
the character of Hymen. Capell : The following masque-like eclarcissement, which
is wholly of the Poet's invention, may pass for another small mark of the time of this
play's ¥mting : for precisely in those years that have been mentioned in former notes
[1604 and 1607] the foolery of masques was predominant; and the torrent of fashion
bore down Shakespeare, in this play and the Tempest, and a little in Timon and Cym-
beline. But he is not answerable for one absurdity in the conduct of this masque, that
must lye at his editor's doors ; who, by bringing in Hymen in proprid persond, make
Rosalind a magician indeed ; whereas all her conjuration consisted — in fitting up one of
the foresters to personate that deity, and in putting proper words in his mouth. [See
Text. Notes.] If, in representing this masque. Hymen had some Loves in his train,
the performance would seem the more rational ; they are certainly wanted for what is
intitrd the Song; and the other musical business, beginning: < Then is there mirth,'
&c. would come with greater propriety from them, though editions bestow it on
Hymen. Steevens: In all the allegorical shows exhibited at ancient weddings.
Hymen was a constant personage. Ben Jonson, in his Hymenal, or the Solemnities
of Masque and Barriers, has led instructions how to dress this favorite character :
' On the other hand, entered Hymen, the god of marriage, in a saffron coloured robe,
his under vestures white, his sockes yellow, a yellow veile of silke on his left arme,
his head crowned with roses and marjoram, in his right hand a torch of pine-tree.'
no. Still Musicke] Staunton: That \^, soft, low, gentle music: *then calling
softly to the gentlemen who were witnesses about him, he bade them that they should
command some still musicke to sound.* — A Patteme of the painefull Adventures of
Pericles, prince of Tyre, i6o8. Again : *Afler which ensued a still noyse of recorders
and flutes.' — A true reportarie . . of the Baptisme of . . Prince Frederik Henry, &c.,
1594.
113. attone] Skeat : To set at one ; to reconcile. Made up of .the two words at
and one / so that atone means to *■ set at one.' This was a clumsy expedient, so much
so as to make the etymology look doubtful ; but it can be clearly traced, and there need
be no hesitation about it. The interesting point is that the old pronunciation of Mid-
dle English oon (now written one^ and corrupted ia pronunciation to wuPk) is here
278 AS YOU LIKE IT [actv. sc. iv.
Good Duke receiue thy daughter^
Hymen from Heauen brought her^ 115
Yea brought her hether .
That thou mightjl ioyne his hand with kis^
Whofe heart within his bofome is. 118
116. hether] F,. hither F^F^. Ii8. his bofome] ^^^^j^ww Mai. Stee v.
117. his hand] F„ Cald. Hal. her '93, Knt, Coll. Sing. Wh. i, Dyce, Ktly,
hand F^F^ et cet. Huds. Rife.
exactly preserved ; and there are at least two other similar instances, viz. in a/one
(from Mid. Eng. a/, all, and (me)^ and on/y (Mid. Eng. oonly), etymologically one-ly
[frequently spelled onefy in the Folio. — Ed.], but never pronounced vmnly in the
standard speech. In anorty lit. * on one,* the -on is pronounced as the preposition * on/
never as anwun. The use of atone arose from the frequent use of Mid. Engl, at oon
(also written at on) in the phrases * to be at oon * =» to agree, and * set at oon,* 1. e. to
set at one, to make to agree, to reconcile. [Hereupon Skeat traces the phrase from
Robert of Gloucester to Dryden.] Wright : The verb * atone ' does not occur in
the Authorised Version, but we have there, 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 which both are derived The spelling of the Folio has given
occasion to the conjectural emendation attune,
117, 118. his hand . . . his bosome] Malone reads * her hand ' and * her bosom ' ;
he followed the Third and Fourth Folios in reading * her hand * ; but in reading * ?ier
bosom ' the change was his own. Of the text (which is his, and not Shakespeare's)
he gives the following paraphrase : * " That thou might'st join her hand with the hand
of him whose heart is lodged in her bosom," i. e. whose affection she already pos-
sesses.* Collier (adopting Malone's text) says * his * is evidently wrong in both
instances ; * the error was, no doubt, produced by the not infrequent custom at that
date of spelling " her,*' hir^ which misled the compositor.' Her is also the correction
of Collier's (MS). Walker (if I understand him aright) also (CnV. i, 317) approves
of Malone's text.
On the other hand, Caldecott adheres to the Folio, reading * his ' in both places,
with the following note: Before our attention had been directed to the variance
between the old copies and modem editions, we had conceived that our author had
repeatedly used the masculine pronoun in reference to the previously assumed cha-
racter, and * doublet and hose * dress of Rosalind ; but it seems now, from this as well
as other considerations, that her dress could not have been altered. The Duke, her
father, who did not now know or suspect who she was (although he had just before
said * he remembered some lively touches of his daughter in this shepherd-boy '), must,
one would think, have at once recognised her in a female dress ; and she must also
have delivered the epilogue in a male habit, or she could hardly have used the expres-
sion * if I were a woman.* That the text is correct there may be much doubt. The
introduction of the words ' in women's clothes * in the modem editions, was probably
in consequence of stage practice. [It is not easy to see what leads Caldecott to sup-
pose that the Duke fails to recognise his daughter ; he quite forgets, too, that when
Rosalind in the Epilogue says * if I were a woman,' it was the boy-actor who spoke.
There can be no doubt that from Rowe's times to the present Rosalind here appears
' in woman's clothes * ; and it is clear, I think, that Phebe would not at once have
k.
ACT V. sc. iv.] AS YOU LIKE IT 279
Rof. To you I giue my felfe, for I am yours.
To you I giue my felfe, for I am yours. 120
Du. Se, If there be truth in fight, you are my daughter.
Or/, If there be truth in fight, you are my Rofalind,
7%^. If fight & fhape be true, why then my loue adieu
Rof, He haue no Father, if you be not he :
He haue no Husband, if you be not he : 125
Nor ne're wed woman, if you be not fhee.
Hy. Peace hoa : I barre confufion,
'Tis I mud make conclufion
Of thefe mod ftrange euents :
Here's eight that muft take hands, 130
To ioyne in Hymens bands,
119. [To the Duke] Rowe et seq. 123. Two lines, Pope et seq.
120. To you] Or. To you F^F^. 124. [To the Duke] Johns, et seq.
[To Orl.] Rowe et seq. 1 25. [To Orl.] Johns, et seq.
122. ftght] shape Johns, conj. Dyce 126. [To Phe.] Johns, et seq.
iii, Coll. iii, Huds.
renounced her if she had not. The stage-directions in Rowe are to be accepted with
the respect due to the directions which most probably governed the stage of Shake-
speare himself. At the same time it may be permitted to doubt whether the change
to woman's dress has anything to do with a change of *• his ' to her. It is by no means
certain that when we adopt * her hand * and * her bosom * we are following Shake-
speare ; but our leader may be the admirable, though prosaic, Malone. It is conceiv-
able that the text as we have it is just as it should be. First, on that sound, healthy
principle, too often neglected now-a-days, of durior lectio^ &c. ; and, secondly, since
Orlando had wooed his love as a boy, nay, even been married to her as a boy, and
had even in very truth once * joined his hand to his,' it is not, I think, over-refinement
to suppose that the < mirth in heaven ' here prompts this allusion to the past, and by
the use of * his ' we are reminded that though we have Rosalind before us, we are not
to forget Ganymede. — Ed.]
122. sight] Johnson : The answer of Phebe makes it probable that Orlando says :
* If there be truth in shaped that is, * if a form may be trusted ' ; if one cannot usurp
the form of another. Walker {Crit. i, 306) : Read shape^ to which Phebe evidently
refers. Shape is dress; see Gifford's Massinger \The Emperor of the East ^ III, iv,
p. 294, where the word unquestionably means, as Gifford says, dress. Pulcberia sajrs
to Eudocia, whom she had previously caused to be gorgeously clad in order to win
her brother's heart : * When, .... The garments of thy sorrows cast aside, I put thee
in a shape as would have forced Envy from Cleopatra, had she seen thee.* It was
the dress, and the dress alone, that made the difference to Orlando between his Rosa-
lind and his Ganymede. I yield to Johnson and to Walker as did the conservative
Dyce in his last edition. Wright, however, does not accept shape in this sense : he
adheres to the Folio. *■ Rosalind's woman's shape,' he explains, * was more fatal to
Phebe's hopes than the mere fact of her identity, whereas her identity was everything
to Orlando.' — Ed.].
28o AS YOU LIKE IT [act v. sc. iv.
If truth holds true contents. 132
You and you, no croffe fhall part ;
You and you, are hart in hart :
You, to his loue muft accord, 135
Or haue a Woman to your Lord.
You and you, are fure together,
As the Winter to fowle Weather :
Whiles a Wedlocke Hymne we fmg,
Feede your felues with queftioning : 140
That reafon, wonder may diminifh
How thus we met, and thefe things finifh.
Song.
Wedding is great lunos crowne^
blejfed bond of boord and bed: 145
^Tis Hymen peoples euerie towne ^
High wedlock then be honored:
Honor ^ high honor and renowne
To Hyinen^ God of euerie Towne.
Du, Se. O my deere Neece, welcome thou art to me, 1 50
133. andyifu] and and you F . 136. [To Phe.] Johns.
[To Orl. and Ros.] Johns, et 138. [To the Clo. and Aud.] Johns,
ieq. 142. thefe things'] thus we Coll. (MS).
134. [To Oli. and Cel.] Johns. 149. of euerie] in every Coll. (MS).
132. contents] Johnson : That is, if there be truth in truths unless truth fails of
veracity. Wright : This appears to be the only sense of which the poor phrase is
capable. [It is merely a strong asseveration, stronger, perhaps (since there is no con-
tradiction), than the occasion demands ; but then, what of that ? Hymen is always
a little incomprehensible. Isabel, in Afeas. far Meas.y says : < truth is truth to the
end of reckoning.* — Ed.]
136. to your Lord] Compare Matthew^ iii, 9: * We have Abraham to our father.*
137. sure] Schmidt: That is, indissolubly united, betrothed.
140. questioning] Steevens: Though Shakespeare frequently ViSts 'question*
for conversation^ in the present instance ' questioning * may have its common and
obvious signification. [See III, ii, 360.]
143. Song] White : Both the thought and the form of the thought in this * Song '
seem to me as unlike Shakespeare's as they could well be, and no less unworthy of
his genius ; and for the same reasons I think it not improbable that the whole of
Hymen*s part is from another pen than his. ROLFE : We are inclined to agree with
White; and it may be noted also that lines 127-149 make an awkward break in the
dialogue, which would run along very naturally without them.
147. This should be punctuated, I think, if necessary, * High, wedlock then, be
honored/ to indicate, at a glance, the word which < High * qualifies. — Ed.
ACT V, sc. iv.] AS YOU LIKE IT a8i
Euen daughter welcome, in no leffe degree. 151
Phe. I wil not eate my word, now thou art mine,
Thy fiiith, my iancie to thee doth combine.
Enter Second Brother,
2.Bro. Let me haue audience for a word or two: 155
I am the fecond fonne of old Sir Rowlandy
That bring thefe tidings to this faire affembly.
Duke Frederick hearing how that euerie day
Men of great worth reforted to this forreft,
Addreft a mightie power, which were on foote 160
In his owne conduft, purpofely to take
His brother heere, and put him to the fword :
And to the skirts of this wilde Wood he came ;
Where, meeting with an old Religious man, 164
151. daughter welcome^ ^'9^3* <^o^gh- daughter Cartwright.
ter^ welcome^ F^, Rowe, Pope, Cam. Rife, 152. [To Sil.] Coll.
Wh. ii. ^flf/^i4/^-wr/(f<wi/, Theob. Warb. 154. Scene VIII. Pope + .
Johns. Dyce iii, Huds. daughter, wel- Enter...] Enter Jaquesde Boyes.
come Han. Cap. Steev. Mai. Cald. Knt, Rowe.
Coll. i, ii, Sing. Wb. i, Dyce i, Sta. Ktly. 155. 2. Bro.] Jaq. de B. Rowe. de B.
daughter y — welcome^ Coll. iii. as a Cap.
151. daughter welcome] Walker {Crit. iii, 64] : Read Maugbtei welcome ' ;
as welcome as a daughter. [Anticipated by Theobald. See Text. Notes.] Dowden
i^TTie Academy y 19 Jan. 1S84) : Is not Shakespeare at his old trick of blundering
about no less, and does he not mean * Even a daughter is welcome in no higher
degree than you, my niece?' Littledale [The Academy, 26 Jan. 1884): Surely
there is no need to explain * no less ' as a mere blunder for no higher. A comma
after ' daughter ' (and even so much is not essential) yields the natural sense : * O my
dear niece .... nay, my daughter, welcome, in no less (or lower) degree than that of
daughter, not in the more distant relation of niece.' Allen (MS) : That is, I address
you, not as niece merely, but as daughter, since thou art welcome in no less degree
than daughter.
153. combine] Steevens: That is, to bind; as in Meas. for Meas. IV, iii, 149:
• I am combined by a sacred vow.*
154. Second Brother] Collier: He is thus called to avoid confusion with the
' melancholy Jaques.' [The ' confusion ' could arise only in print, and could not last
long even there ; he says at once that he is old Sir Rowland's second son. — Ed.]
160. Addrest] Caldecott: Prepared. White: At this day and in this country
it is perhaps necessary to point out that Jaqlies de Bois means that Duke Frederick
made ready a mighty power, not that he made a speech to them.
164. old Religious man] Francois-Victor Hugo (p. 58) : Sous le froc v6n6-
rable du solitaire, c'est la nature elle-mfime qui s'est r6v61ie It Fr6d6ric. C'est la
nature qui I'a zxttXJk au passage et qui, par cette voix sainte, lui a cri6 : Tyran, tyran,
pourquoi me persicutes-tu ? Le due est entr6 dans la forftt par la route de Damas.
2b2 AS YOU LIKE IT [act v. sc. iv.
After fome queftion with him, was conuerted 165
Both from his enterprize, and from the world :
His crowne bequeathing to his banifhM Brother,
And all their Lands reftor'd to him againe
That were with him exil'd. This to be true,
I do engage my life. 1 70
Du, Se, Welcome yong man :
Thou offer'ft fairely to thy brothers wedding :
To one his lands with-held, and to the other
A land it felfe at large, a potent Dukedome.
Firft, in this Forreft, let vs do thofe ends 175
That heere vvete well begun, and wel begot :
And after, euery of this happie number
That haue endur'd fhrewM daies, and nights with vs, 178
168. to hifft] Ff, Coll. i. to them Rowe Cald. brother^ s F^, Rowe ii, Pope, Theob.
et cet. Warb. Johns. Mai. Coll. iii, Wh. ii.
169. /tf ^^] /«?/r(7z/^ Abbott, so quoted, brothers^ Cap. et cet.
§ 354. 176. wete\ were Ff.
172. brothers] F^F^, Rowe i, Han.
Un rayon d'en haut a perc6 la nue, et, 6clair6 par cette clart^ divine, le despote a
reconnu toute Thorreur de son despotisme. Le bourreau du droit en est devenu
I'apdtre. II s'est prostemd devant les v^rit^s qu'il venait combattre. Usurpateur, il
areni6 1' usurpation: porte-sceptre, il s'est d6fait de la couronne; bomme de guerre,
il a mis bas les armes; porte-glaive, il a rendu son 6p6e k la nature anachorite et il
s'est constitu6 prisonnier du desert.
1 68. to him] Collier in his first edition retained this obvious misprint, on the
ground that the converted Duke restores to the banished Duke all the lands of those
who were exiles with him, in order that the latter might afterwards restore these lands
to their former owners. * The Duke,' he says, * afterwards tells his nobles [line 180]
that he will give them back their estates.' Dyce, however, points out (J^emarJh, p.
64) that Collier mistook the meaning of line 180, where 'states' does not mean
estatesj but that the line means, * all my faithful followers shall receive such rewards
as suit their various stations.' Collier afterwards followed his (MS) corrector, who
followed Rowe. White thinks it conclusive that ' him ' is a misprint because of the
verb < were ' in the next line. It is not impossible to suppose that the nominative to
* were ' is contained in * their.* — Ed.
168. all . . . restored] Wright: This may be grammatically explained either by
regarding it as a continuation of the sentence in line 165, < was converted,' the inter-
vening line being parenthetical ; or by supposing an ellipsis of were^ < all their lands
were restored ' ; or, which seems best, as an independent participial clause, ' all their
lands being restored.'
169. This to be true] See Abbott, § 354, for instances of a 'noun and infinitive
used as subject or object.'
177. euery] For other examples of * every' used as a pronoun, see Abbott, § 12.
178. shrew'd] *The air,' Hamlet says, 'bites shrewdly, it is very cold.' This
ACT V. sc. iv.] AS YOU LIKE IT 283
Shal (hare the good of our returned fortune,
According to the meafure of their ftates. 180
Meane time, forget this new-falne dignitie,
And fall into our Ruflicke Reuelrie :
Play Muficke, and you Brides and Bride-groomes all,
With meafure heapM in ioy, to'th Meafures fall.
laq. Sir, by your patience : if I heard you rightly, 185
The Duke hath put on a Religious life.
And throwne into negleft the pompous Court
2.Bro. He hath.
laq. To him will I : out of thefe conuertites.
There is much matter to be heard, and learned : 190
you to your former Honor, I bequeath
l^g, Jharc]¥^. ^tfzv Walker, so quot- 191. [To the Duke] Rowe.
ed, Vers. 40. bequeath'] bequeath ; F,. be-
180. ftates\ * states Coll. queath^ Rowe.
allusion to ' shrewd days and nights/ here in the last words of the Duke, recalls
to us the first, when he could smile at the churlish chiding of the winter's wind. — Ed.
180. states] White: That is, of course, their estates. Dyce would read * states,*
I. e. conditions. Dyce (ed. iii) : I certainly do read * states,' but as certainly I under-
stand that reading to mean estates. Can Grant White for a moment suppose that
when Theobald, Hanmer, Capell, Malone, Staunton, &c. printed (and rightly), as I
do, *■ states,' without a mark of elision, they understood it to mean conditions f [See
line 168.]
185. Sir] Capell : To the duke; putting himself, without ceremony, between
him and de Boys, and then addressing the latter : and the subject of this address is
the most admirable expedient for Jaques to make his exit in character that ever human
wit could have hit upon ; nor can the drama afford an example in which Horace's
servetur ad imum has been better observ'd than in this instance.
187. pompous] Of course, in its original true meaning, full of pomp.
189. conuertites] Cotgrave; Covers [a misprint for Convers] : vn con. A con-
uertite ; 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.
191. you to your . . . Honor] That this apparent inversion, whereby the Duke
is bequeathed to his crown, puzzled the compositors, is clear from the punctuation,
revealing, as it does, their attempts to grapple with the meaning. The compositor of
the Second Folio was more successful, and has been universally followed. Schmidt,
in the closing pages of his Lexicon (p. 1424), has given a list of passages, of which
the present is one, where he says * the whole relation of ideas is inverted.' It is likely
that he is correct in thus interpreting the present passage. It is, however, not impos-
sible that the inversion is here intentional. There may be a covert, cynical intimation
to the Duke that his crown is more substantial than he, that he is a mere chattel to be
passed by bequest ; and, therefore, Jaques so phrases it that instead of bequeathing a
legacy to a legatee he bequeaths a legatee to a legacy. — Ed.
191. bequeath] Wright: Loosely used in the sense of < leave,' as above, line
mj-
284 ^S YOU LIKE IT [act v. sc iv.
your patience, and your vertue, well deferues it 192
you to a loue, that your true faith doth merit :
you to your land, and loue, and great allies :
you to a long, and well-deferued bed : 195
And you to wrangling, for thy louing voyage
Is but for two moneths viftuall'd : So to your pleafures^
I am for other, then for dancing meazures.
Dii.Se^ Stay, laques, ftay.
laq. To fee no paftime, I : what you would haue, 2CX)
He ftay to know, at your abandonM caue. Exit.
192. de/ertifs] deserve Pope+, Coll. 195. [To Sil.] Rowe.
Dyce iii, Huds. 196. [To the Clown] Rowe.
193. [To Orl.] Rowe. 197. monethy] months F .
194. [To Oli.] Rowe.
167. Properly, like the A. S. becwcEj>an, it signifies only to g^ve 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. [But we must remember that
Jaques was about to join the Duke, who by *• putting on a religious life ' became dead
to the world. By the use of this very word < bequeath ' Jaques intimates to us that
he too will become the same. — Ed.]
192. desenies] For this singular after two nominatives, see Abbott, §336, if
necessary ; or Shakespeare, passim,
201. Steevens: Amid this general festivity, the reader may be sorry to take his
leave of Jaques, who appears to have no share in it, and remains behind unreconciled
to society. He has, however, filled with a gloomy sensibility the space allotted to
him in the play, and to the last preserves that respect which is due to him as a con-
sistent character and an amiable, though solitary, moralist. It may be observed, with
scarce less concern, that Shakespeare has, on this occasion, forgot old Adam, the ser-
vant of Orlando, whose fidelity should have entitled him to notice at the end of the
piece, as well as to that happiness which he would naturally have found, in the return
of fortune to his master. Farmer : It is the more remarkable that old Adam is for-
gotten ; since, at the end of the novel. Lodge makes him * captaine of the king's
guard.' [Or, in other words, William Shakespeare was not Thomas Lodge. — Ed.]
Maginn (p. 90) : Whether he would or not, Jaques departs from the stage with the
grace and easy elegance of a gentleman in heart and manners. He joins his old
antagonist, the usurping Duke, in his fallen fortimes ; he had spumed him in his pros-
perity ; his restored friend he bequeaths to his former honour, deserved by his patience
and his virtue, — ^he compliments Oliver on his restoration to his land, and love, and
great allies, — ^wishes Silvius joy of his long-sought and well-earned marriage,— cracks
upon Touchstone one of those good-humoured jests to which men of the world on the
eve of marriage must laughingly submit, — ^and makes his bow. Moberly: It is
remarkable that Jaques himself had been convicted by the Duke of being a ' con-
vertite,' whose new-bom morality was not likely to do much good to the world. Thus,
therefore, he ends as he began; learning from profligacy, and cherishing as if it
were wisdom, that contempt of mankind and their affairs which came to Hamlet only
through misery, and was hated by him as a fresh misery. He has failed to learn the
jm
ACT V. sc. iv.] AS YOU LIKE IT 285
Du, Se, Proceed, proceed : wee'l begin thefe rights, 202
As we do truft, they'l end in true delights. £xi^
Rof. It is not the fafhion to fee the Ladie the Epi-
logue : but it is no more vnhandfome, then to fee the 205
Lord the Prologue. If it be true, that good wine needs
no bulh, 'tis true, that a^^oodolay needes no Epilogue. 207
202. wr^/]Wh. i. t»riw7/Ffetcet 203. truft, they I end'\ trust they'll
rights'] Ff. rites Rowe. endy Pope.
203. As"] And Var. '03, '13, '21, Cald. Exit.] Om. Ff et seq. A Dance.
Knt. Cap.
203. Epilogue. Theob. ii.
lessons either of prosperity or of adversity ; has, to the last, eyes for nothing but the
meanness of human nature ; and is, to the last, the type of the man characterised in
Bacon's striking sentence : < He that is prudent may seek to have a desire ; for he who
does not strive after something with eagerness finds everything burdensome and
tedious.'
203. As] In Reed's Variorum of 1803 this appears as And. It is probably a mere
misprint, but its vitality is surprising. — Ed.
203. Exit] Collier : The universal modem stage-direction here [see Text. Notes]
is * a dance,' which probably followed the Duke's speech. . . . There seems no suffi-
cient reason why the Duke should go out before the conclusion of the Epilogue^—
nevertheless, according to the custom of our old stage, he may have done so. [Appa-
rently, he did not do it in 1632. See Text. Notes. — Ed.] White : It appears that
this * Exit ' is an accidental repetition of that intended for Jaques just above.
204. not the fashion] G. S. B. ( The Prologue and Epilogue, &c. p. 13) : The
dramatists of the early age of our drama did not begin (habitually, at least) to assign
their Prologues and Epilogues to the characters of the play so soon as we should sup-
pose from the instances of such a practice which we find in As You Like It, The
Tempesty and in several other plays of Shakespeare. Some contemporaries of Shake-
speare, no doubt, adopted the practice ; but, though by the time of Congreve and
Wycherley, and even of Dryden, it had become usual, it was rather the exception
than the rule in the sixteenth century The next decided novelty, as regards
the character of the person deputed to speak the Prologue, was introduced in 1609,
when a female character (not a woman, of course, as women had not begun to act at
this time, but a boy-actor personating a female) spoke the Prologue to Every Woman
in her Humour. The stage-directions are : * Enter Flavia, as a Prologue ' ; and, hav-
ing entered, she says, * Gentles of both sexes, and of all sorts, I am sent to bid ye
welcome. I am but instead of a Prologue, for a she-Prologue is as rare as a usm^r's
alms.' So also Rosalind feels bound to justify what was not yet an established usage.
. . . Not long af^er the introduction of Killigrew's and D'Avenant's actresses at the
Restoration, we find women, instead of boys, in female characters, speaking both Pro-
logues and Epilogues. Nell Gwynne, Mrs Mountford, and Mrs Bracegirdle became
particularly noted for their art in this respect, and one or other of them was often
selected for the purpose by Dryden and his fellow-dramatists.
207. bush] Steevens : It appears formerly to have been the custom to hang a
tuft of ivy at the door of a vintner. I suppose ivy was chosen rather than any other
plant, as it has relation to Bacchus. So in Gascoigne's Glass of Government, 1575 :
286 AS YOU LIKE IT [act v. sc. iv.
Yet to good wine they do vfe good bufhes : and good 208
playes proue the better by the helpe of good Epilogues:
What a cafe am I in then, that am neither a good Epi- 210
* Now a days the good wyne needeth none ivye garland.' Again in Summer's Last
Will and Testament ^ 1600: Green ivy-bushes at the vintners' doors.' RiTSON: The
practice is still observed in Warwickshire and the adjoining counties at statute-hirings,
wakes, &c. by people who sell ale at no other time. Halliwell : Chaucer alludes
to the bush, and its customary position appended to an ale-stake or sign-post, when he
sp)eaks of *A garland hadde he sette upon his hede As gret as it were for an alestake.'
— Prologue y 668. [The allusions to this custom are endless. — Ed.] H. C. Hart
{JSh. Sac. Trans. 1877-9, ^^^ iii» P- 461) : Holly and ivy would no doubt, from their
freshness and greenness, have been used fix}m the earliest period as symbols of rejoi-
cing ; but in reference to wine, ivy bears a further meaning, without a knowledge of
which the real force of the proverb is, I believe, lost. This may be proved from
abundant sources, but the following will suffice : *■ In their feasting, they would some-
times separate the water from the wine that was therewith mixed, as Cato teacheth " de
re rustica " (c. 3), and Pliny (1. 16, c. 35) with an ivie cup would wash the wine in a
bason full of water, then take it out again with a funnel pure as ever.' — Rabelais, Bk.
i, ch. 24, Ozell's Trans. And again, * after that ; how would you part the water from
the wine and purify them both in that case ? I understand you well enough, your
meaning is that I must do it with an Ivy Funnel.' — lb. Bk. iil, ch. 52. And Gervase
Markham : ' If it came to pass that wine have water in it, and that we find it to be
so, ... . cause a vessel of ivie wood to be made, and put therein such quantitie of wine
as it will hold, the water will come forth presently, and the wine will abide pure and
neate.' — TTie Countrie Farmty Bk. vi, ch. 16. Hence the meaning of the proverb
would appear to be that good (that is to say, pure or neat) wine would not, like diluted
wine, require ivy to make it drinkable ; otherwise the saying means no more than that
humanity has wit enough to find its way to a good thing without beiog directed,
which is neither a very pointed, nor yet a very true, remark. But that this was the
meaning of the proverb we are not without actual proof, thus : * The common saying
is, that an ivie bush is hanged at the Taveme-dore to declare the wine within ; But
the nice searchers of curious questions affirme this the secret cause, for that that tree
by his native property fashioned into a drinking vessel plainly describeth unto the eye
the subtile art of the vintner in mingling licors, which else would lightly deceive the
thirsty drinker's taste.' — Accedens of Armorie, Gerard Leigh, 1 591 : Richard Argol
to the Reader In Ray's Proverbs may be found its Italian, French, Latin, and
Spanish equivalents.
210. then] Johnson: Here seems to be a chasm, or some other depravation,
which destroys the sentiment here intended. The reasoning probably stood thus:
' Good wine needs no bush, good plays need no Epilogue ' ; but bad wine requires a
good bush, and a bad play a good Epilogue. * What case am I in, then ?' To restore
the words is impossible ; all that can be done, without copies, is to note the fault
M. Mason : Johnson mistakes the meaning of this passage. Rosalind says, that
good plays need no Epilogue ; yet even good plays do prove the better for a good
one. AMiat a case, then, was she in, who had neither presented them with a good
play, nor had a good Epilogue to prejudice them in favor of a bad one! Kenrick
(Rev. of Johnson, p. 71) : It can hardly be called a supposition that Shakespeare
wrote tho^ instead of < then.' It is obvious he must, as he plays on the word ' good '
ACT V, sc. iv.] AS YOU LIKE IT 287
logue, nor cannot infinuate with you in the behalfe of a 211
good play? I am not fumifh'd like a Begger, therefore
to begge will not become mee. My way is to coniure
you, and He begin with the Women. I charge you (O
women) for the loue you beare to men, to like as much 215
of this Play, as pleafe you : And I charge you (O men)
for the loue you beare to women (as I perceiue by your
fimpring,none of you hates them) that betweene you, 218
211. nor cannot'^ nor can Pope + , M^w Steev. '93.
Stecv. '85. 216. And/] and so /Steev. '93.
216. ^Ua/t you] pUafes you F^F^, 218. hates] hate Pope+, Steev. Mai.
Rowe, Pope, Theob. Johns. Mai. pleases them) that] them) to like as much
them Han. Warb. Cap. Steev. '85. please as pleases them, that Han. Warb. Cap.
all through the passage, not once introducing the epithet dad, made use of by Dr
Johnson, nor hinting at the antithesis which the editor conceives so necessary to the
sense. Tho\ at the end of a sentence, is commonly used in discourse for however,
and has the same meaning as hit at the beginning of it. Thus it is the same thing
as if the speaker had said, *But what a case,' &c.
211. insinuate with] Schmidt supplies other instances of this use in the sense <if
ingratiating one's self.
212. fumish'd] Johnson : That is, dressed; so before [HI, ii, 240] he was fur-
nished like a huntsman.
216. please] Abbott, § 367, gives this as an example of the < subjunctive used
indefinitely after the Relative.' Wright gives as a parallel instance : * Yes, faith, it
is my cousin's duty to make curtsy and say, " Father, as it please you." ' — Much Ado,
n, i, 56, where it is used impersonally. But Walker (CnV. i, 206) well suggests
that there may be * a double meaning here : as may be acceptable to you /' and so,
indeed, it seems to have been interpreted by the older editors down to Steevens.
216, 218. please you: . . . that betweene] Warburton: This passage should
be read thus, ' to like as much of this play as pleases them : and I charge you, O
men, for the love you bear to women (as I perceive, &c.), to like as much as pleases
them, that between you,* &c. Without the alteration of * you ' into them the invo-
cation is nonsense ; and without the addition of the words to like as much as pleases
them, the inference of, 'that between you and the women the play may pass' [sic],
would be unsupported by any precedent premises. The words seem to have been
struck out by some senseless Player, as a vicious redundancy. Heath (p. 155) : As
[Warburton] hath managed his cards, the poet is just between two stools. The men
are to like only just as much as pleased the women ; and women only just as much
as pleased the men ; neither are to like anything from their own taste ; and if both
of them disliked the whole, they would each of them equally fulfil what the poet
desires of them But Shakespeare did not write so nonsensically ; he desires the
women to like as much as pleased the men, and the men to set the ladies a good
example ; which exhortation to the men is evidently enough implied in these words,
* that between you and the women, the play may please.' [Although Capell must
have seen Heath's criticism (he refers more than once to Heath with commendation,
as well he might), he was nevertheless borne down by Warburton's confidence, and
288 AS YOU LIKE IT [act v. sc. iv.
and the women, the play may pleafe. If I were a Wo- 219
not only * subscribes to his reasoning very heartily,' but actually inserted Warbuiton'8
words in the text. Johnson did not follow Warburton in his text, but of the change
of * please you ' into pleases them, he says] : The words you and ^, written as was
the custom in that time, were in manuscript scarcely distinguishable. The emen-
dation is very judicious and probable. Malone: The text is sufficiently clear with-
out any alteration. Rosalind's address appears to me simply this : ' I charge you, O
women, for the love you bear to men, to approve as much of this play as affords you
entertainment ; and I charge you, O men, for the love you bear to women [not to set
an example to, but] to follow or agree in opinion with the ladies ; that between you
both the play may be successful.' The words * to follow, or agree in opinion with,
the ladies,' are not, indeed, expressed, but plainly implied in those subsequent : * that,
between you and the women, the play may please.' In the Epilogue to s Henry IV
the address to the audience proceeds in the same order : * All the gentlewomen here
have forgiven [i. e. are favourable to] me ; if the gentlemen will not, then the gentle*
men do not agree with the gentlewomen, which was never seen before in such an
assembly.* Grant White : Warburton's suggestion would be plausible, were not
the whole speech a bit of badinage. [Heath seems to have disposed of Warburton's
suggestion once and for ever. — Ed.]
219. If I were a Woman] Hanmer : Note that in this author's time the parts
of women were always performed by men or boys. [There can be no doubt that
Hanmer is right. There is, however, one unfortunate little phrase in Tom Coryat's
Crudities which has never been explained, except by conjecture. Coryat was in Ven-
ice in August, 1608, and writes as follows (p. 247, ed. 1611 ; vol. ii, p. 16, ed. 1776) :
* I was at one of their play-houses where I saw a Comedie acted. The house is very
beggarly and base in comparison of our stately Play-houses in England : neyther can
their Actors compare with vs for apparell, shewes, and musick. Here I obsenied
certaine things that I neuer saw before. For I saw women acte, a thing that I neuer
saw before, though / haue heard that it hath beene sometimes vsed in London, and
they performed it with as good a grace, action, gesture, and whatsoeuer convenient
for a Player, as euer I saw any masculine Actor.' Collier explains this allusion to
actresses in London by supposing that Coryat refers to companies of foreign actors.
But were this so, Coryat's contrast between the English stage and the Venetian stage
would lose its point. Still, for lack of any better, this explanation of Collier's must
suffice. We know that some years after this, foreign actors did perform in London.
Collier {^Annals of the Stage, vol. i, p. 451, ed. 1879) says substantially as follows :
The year 1629 is to be especially marked as the first date at which any attempt was
made in this country to introduce female performers upon our public stage. The
experiment was tried, though without success, by a company of French comedians at
the Blackfriars' Theatre. On the 4th of November, 1629, Sir H. Herbert received
2/. as his fee * for the allowing of a French company to play a farce at Blackfriars'.'
In Prynne's Histriomastix (1633, p. 414) is inserted a marginal note in these words :
* Some French-women, or monsters rather, in Michaelmas term, 1629, attempted to act
a French play at the playhouse in Blackfriars, an impudent, shameful, unwomanish,
graceless attempt.' [From a private letter written by one Thomas Brande, which
Collier discovered among some miscellaneous papers in the library of the Archbishop
of Canterbury at Lambeth, bearing date the 8th of November, the following extract
is given :] ' Furthermore you should know, that last daye certaine vagrant French
ACT V. sc. iv.] AS YOU LIKE IT 289
[If I were a Woman]
players, who had beene expelled from their owne countrey, and those women, did
attempt, thereby giving just offence to all vertuous and well-disposed persons in this
town, to act a certain lascivious and unchaste comedye, in the French tonge at the
Blackfryers. Glad I am to saye they were hissed, hooted, and pippin-pelted from the
stage, so as I do not thinke they will soone be ready to trie the same againe.' Brande
was mistaken in supposing that their failure would deter them from renewing their
attempt. A fortnight later they again appeared * for a daye * at the Red Bull. More
than three weeks elapsed before they ventured once more to face an English audi-
ence, when they chose the Fortune playhouse. But failure attended them here as
elsewhere, and the Master of the Revels remitted half his fee on a representation of
the unprofitableness of the speculation. * Some stress,' adds Collier, in a foot-note,
* has been recently laid upon a MS in the British Museum, dated 1582, as showing
that, even then, an actress had appeared in London ; but it only means that a boy
" without a voice " had unsuccessfully played the part of a " virgin " at the theatre in
that year.' Peck (A/emoirs of Miltony p. 233) suggests that the ladies may have acted
at Court before women appeared in public, and hence may have arisen any allusions
which precede in date the year when we know with certainty that women first took
part in public performances. Ward (ii, 422) says that * in the masks at Court ladies
constantly took part as performers ; so that when in Christmas, 1632-3, the Queen
with her ladies acted in a Pastoral at Somerset House, there was no real novelty in
the proceeding.* Langbaine (p. 117), speaking of King John and Maiilday a Trag-
edy, * printed in quarto, Lond. 1655,' says that it was published by * Andrew Penny^
cutcke, who acted the part of Matilda, Women in those times not having appeared on
the stage.' It seems not unlikely that in this, as in other things, the change was grad-
ual, and it is extremely probable that it arose from necessity. During the eighteen
years, from 1642 to 1660, while the theatres were suppressed, the young boys who
had been trained to act as women had grown to man's estate, with valanced faces.
The incongruity, therefore, between the actor and his part must have been monstrous.
As Jordan, in 1662, said :
' For to speak truth, men act, that are between
Forty and fifty, wenches of fifteen ;
With bone so large, and nerve so incompliant,
When you call Desdemona— enter Giant.'
Of course, reform was necessary, and what innovation could be more natural than
that women should assume the roles of women ? Accordingly, very soon after the
re-opening of the theatres, possibly at the very re-opening, or within a few months at
least, we find Pepys (as noted by Wright) thus recording : * January 3, 1660. To the
Theatre, where was acted " Beggar's Bush," it being very well done ; and here the
first time that ever I saw women come upon the stage.' Again, * 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 Scornful Lady," now done by a
woman, which makes the play appear much better than ever it did to me.' It needs
no great penetration to see that a change which made a * play please much better
than ever it did ' before was likely to become permanent. It is, I believe, generally
conceded that the first play in which it was openly announced that women would
take part is Othello, for which a Prologue heralding the fact was printed in 1662,
19
290 AS YOU LIKE IT [act v, sc. iv.
man, I would kiffe as many of you as had beards that 220
pleas'd me, complexions that lik'd me, and breaths that
I defiMe not : And I am fure, as many as haue good
beards, or good faces, or fweet breaths, will for my kind
offer, when I make curt'fie,bid me farewell. Exit. 224
FINIS.
224. curt^Jle] my curtesy Ktly. 224. Exit.] Exeunt. Ff. Exeunt Om-
nes. Pope.
and from which some lines have just been quoted. Who was the first performer of
Desdemona remains in doubt Dyce (Shirley's Works, v, 353) found evidence,
though he does not give it, which satisfied him that it was Mrs Hughs. Malone
(Var. '21, iii, 126) says that it is *the received tradition that Mrs Saunderson was
the first English actress.' (See Othello^ p. 397, of this edition, where the subject is
more fully discussed.) — Ed.
221. lik'd me] See Schmidt, s. v. 2, for many other instances of this use in the
sense of to plectse.
222. defi'de] Nares : To reject, refuse, renounce.
224. farewell] Blackwood's Magazine (April, 1833): But Rosalind, — she is
the Star, the Evening and the Morning Star, — setting and rising in that visionary,
sylvan world, — and we leave her, — ^unobscured, — ^but from our eyes hidden,— in that
immorul umbrage.
APPENDIX
APPENDIX
THE TEXT
The Text of this play is derived from the First Folio of 1623 ; no copy of it in a
separate form, or Quarto in shape, is known to exist. That its publication in such a
form was at one time intended, we learn from TTie Stationers^ Registers.
The early volumes of these Registers are designated by the letters of the alphabet
The volume €, containing entries of books from 1595 to 1620, has in the beginning a
couple of leaves containing sundry somewhat promiscuous notes, the earliest dated
August, 1595, and the last. May, 1615 ; in all about sixteen or seventeen in number.
With two or three exceptions all these notes, when they refer to the entries of books,
contain a caveat, or warning that permission to print is not accorded unless upon better
proof of ownership than the printer offers at the time the note is made. In the mean
time the printer is restrained or * staied ' from issuing the book. These two leaves
look, in fact, like a * Blotter,' or a rough * Gieck-list ' to help the clerk's or the Master
Warden's memory in the granting of future entries ; and, moreover, it looks as if the
clerk had begun this especial list at the top of the third page, and after two or three
entries had gone back to the first. With the exception of the very first note of all,
at the top of the first page, which is dated 1596, and does not refer to the printing of
books, but is merely a memorandum of a business detail of the Stationers' Company,
every item on the first and second pages is of a date subsequent to that at the top of
the third page. This detail, trivial though it be, is not unimportant if we learn from
it with what carelessness all these items were set down, and consequently how much
uncertainty in the matter of chronology must attend every entry on these leaves where
the exact date is not explicitly set forth— a misfortune which happens to be true of
the item containing the title of the present play. It is among these irregular items
on this fiy-leaf, as it were, of the Register that the memorandum containing the title
of As Ycu Like It is to be found, and it is dateless.
The last entry at the foot of the second page (Arber's Transcript^ iii, 36) is of a
ballad, * to be stayed,' of the * Erie of Essex going to Cales ' ; its date is * vltimo maij
[1603].' The top of the third page begins, and continues as follows : [Be it observed
that the entry to Thomas Thorp and william Aspley, which follows the As Vim Like
It item, and is here reprinted merely to show the way in which that item falls in with
the others on the page, is quoted by Malone as of the 23 January , an error (that is,
if Arber's Reprint is correct) quite insignificant, it is true, but which has been fol-
lowed by Halliwell, Stokes, and all other later editors who have referred to the item] :
293
294
APPENDIX
27 may 1600
To master
Robertes
27 May
Tohym
*■ my lord chamberlens memis plaies Entred
viz
A moral of clothe breches and velvet hose
AUarun to London/
As you like yt/a booke
Henry the Ffift/a booke
Euery man in his humour /a booke
The commedie of muche A doo about nothing
a booke/
> to be stated
Thomas Thorp
William Aspley
28 Jtmti/1008
This is to be their copy gettinge aucthority for it/ &c.
It is to be noticed that there is, as I have already mentioned, no date in the margin
opposite this As You Like It item, nor any date following < August' Malone ( Var,
^2iy vol. ii, p. 367) says that *■ it is extremely probable that this " 4 of August " was of
*the year 1600; which, standing a little higher on the paper, the clerk of the Sta-
* tioners' Company might have thought unnecessary to be repeated,' especially, too, if,
as I have suggested, these leaves were a mere rough check-list for his own use and
behoof. But the Registers themselves, further on, supply us with evidence which is
abundantly satisfactory that this is the August of the year 1600. On the 14th of August
in the ' 42 Reg^ne ' {i. e. 1600) we Bnd that certain books were entered to Thomas
Pavyer (Arber, iii, 169), and among them is * The hiatorye of Henry the V**» with the
' battell of Agencoiut.' * These Copyes foUowinge,' says the entry, ' beinge thinges
* formerlye printed and sett over to the sayd Thomas Pavyer.' On the same day in
this month of August Master Burby and Walter Burre entered ' a booke called Euery
man in his humour.' And nine days later, on the 23d, there was ' entred ' to Andrewe
Wyse and William Aspley * Two bookes. the one called Muche a Doo about nothinge.
< The other the second parte of the history of king Henry iiij^ with the humours of
*Sir John FfallstafT: Wrytten by master Shakespere.'
Unfortunately, no mention can elsewhere be found of As Vm Like It. But the
appearance in 1600 of the other plays settles the date of the August item in < the
check-list,' and we may be sure that in that year the present comedy existed, in some
shape or other.
There still remains to be considered in the As You Like It item that mysterious
little sentence *■ to be staled.' On this we may exercise our ingenuity to our heart's
content ; the field of our conjectures need be neither a desert nor nnpec^led.
COLLISR (Introduction to Much Ado about Nothing) supposes that < the object of
* the " stay " probably was to prevent the publication of Henry F, Every Man in his
* Humour, and Much Ado by any other stationers than Wise and Aspley.'
With this supposition Staunton agrees, and adds that * as the three other ^ books "
THE TEXT
295
were issued by them in a quarto fornix probabilities are in favour of the fourth having
been so published also. At all events, there are sufficient grounds for hope that a
quarto edition may some day come to light.'
Wright: *We can only conjecture that As You Like It was not subsequently
entered, because the announcement of its publication may have been premature and
the play may not have been ready. [To this conjecture Wright is led, 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 at all due to the printer, and gives me the impression that Shakespeare himself,
writing in haste, may not have clearly distinguished between the daughter and niece
of the usurping Duke. I refer especially to I, ii, 78, 79 : "CTp. One that old Fred-
" ericke 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 Capell 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 mere 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
Le Beau's answer (I, ii, 271) to Orlando's inquiry, 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 (I, iii, 121) that Rosalind is the taller. 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 con-
sistent with his making inquiry 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 l)cen 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." I scarcely know whether to attrib-
ute to the printer or to the author's rapidity oi composition the substitution of "Juno "
for Venus in I, iii, 78. 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.'
Fleay, in his Introduction to Shakespearian Study, 1877 (?• 24), says that this
* " staying " was probably carried out, because the play was still acting at the Globe ' ;
and in his Life and Work of Shakespeare, 1 886, he somewhat modifies this opinion.
On p. 40, speaking of the * sta3ring ' of the plays mentioned in the As You Like It
item, he says : * They were probably suspected of being libellous, and reserved for
* further examination. Since the " war of the theatres " was at its height, they may
< have been restrained as not having obtained the consent of the Chamberlain, on
* behalf of his company, to their publication As You Like It was not allowed
* to appear, the company probably objecting that it had only been on the stage for one
* year.' And again on p. 140 : « I think [the staying] likely to have been caused by
* the sup}x>sed satirical nature of the plays.'
Wright's conjecture would carry conviction, if, in the course of time, after the * stay-
ing,' a Quarto had actually appeared bearing all these marks of haste which Wright
detects in the play as we now have it ; then all these oversights would make assur-
296 APPENDIX
ance double sure, and from this proven haste we might be not unreasonably certain
that it was to gain time and thwart injurious stealth that the booke had been ' staied.'
But no Quarto appeared at all, complete or incomplete ; and for twenty-three years
the play carried these marks which Wright, and with much probability, attributes to
haste. Rapid, miraculously rapid, the composition of As You Like It must have been,
but the connection is not so obvious between this rapidity of execution on Shake-
speare's part and a refusal to permit the play to be printed on the Warden's part.
If the play could be acted, an unscrupulous printer might suppose it could be printed,
and make the attempt to enter it at Stationers' Hall ; and if the author or legitimate
owner had power enough to * stay ' the printing of this play and the others for a time,
he would have, one would think, enough power to stay their printing altogether.
But, as we see, the * stay ' was of the shortest in the case of Henry V. The prohi-
bition lasted only ten days; on 14th of August, Thomas Pavyer received permission
to print that play ; and nine days after that, Andrew Wyse received permission to
print Much Ado.
It is this same expeditious removal of the caveat which is also fatal, it seems to me,
to Fleay's conjecture that the plays were * staied ' because they were satirical or libel-
lous. However libellous Every Man in his Humour or Henry K might be, I cannot
recall a single accusation of libel or of even keen satire in As You Like //, except
the one or two accusations of satire against Jonson, which Tieck ui^es ; and these
chaises were born and died in the learned German's brain. Certainly, Fleay himself
specifies no libel in this play. And yet this is the very play of all where the * stay *
is permanent. The libellous or satirical character ceased to be operative in the caso
of all the others within the month.
Of course, in cases like the present, where all our speculations must be, necessarily,
of the vaguest and most shadowy character, it is easy to criticise and pick flaws. All
the influences at work in connection with the printing of Shakespeare's plays we do
not know and probably never shall know. Accordingly, in this realm of pure specu-
lation a critic is a chartered libertine, and he may take up with any theory he may
chance to meet. WTierefore, in the exercise of this right, I scarcely shrink from sug-
gesting that one of the causes of all this * staying' (I have hinted at another one in
* The Source of the Plot'), and at the bottom of all this entanglement over the printing
of As You Like It^ was James Roberts. If we look back at the entries in the Sta-
tioners' Registers^ we shall see that his is the last name before the As You Like It
item set down as an applicant for an entry ; and the same needlessness which deterred
the clerk from repeating, on this informal sheet, the date of the year, deterred him
from repeating in the margin opposite the titles of these new * bookes ' the name of
the applicant ; who was (is it not probable ?) this very same James Roberts. Now,
this James Roberts was far from being one of the best of the Stationers, at least if we
can judge from the fact that he came more than once under the ban of the Wardens
and was fined by them. Perhaps it was that he violated the professional etiquette of
the Stationers, which forbade a trespass on a neighbour's manor even when that neigh-
bour had merely a prescriptive right to his manor and did not hold it by Letters Patent.
The right to print certain books and certain classes of books was secured by Letters
Patent to certain printers ; thus Letters Patent secured to Richard Tottell the exclusive
right to print Law books, and to Tallis to print Music, and to Bowes to print Playing
Cards, &c., &c., and to James Roberts, this same James Roberts, the right to prinl
'Almanackes and Pronostycacyons.' But there were no Letters Patent guarding the
%.
THE TEXT 297
right to print ' plaie bookes * ; only prescription could confer that, and courtesy guard
it, especially as this branch of the trade may not have been in the best repute. Now,
it looks much as if James Roberts felt at times that his horizon of Almanackes and
Pronostycacyons was too restricted. (lie held the privilege for only twenty-one years,
and the term had more than half expired in i6cx).) He once made an attempt
on the Queen's Printer's realm of Catechisms, and was promptly repressed by the
Master Wardens of the Stationers' Company, and fined. Next he seems to have
turned his attention to the stage, and clasped itching palms with some of my Lord
Chamberlain's men. In a mysterious way he gained possession of a copy of The
Merchant of Venice^ and would have incontinently printed it, had not the Wardens
* staied ' it, and staied it for two years too, at the end of which time James sold his
copy to young * Thomas haies,' and at once proceeded to print a second and better
copy for himself. Clearly, James Roberts was what the Yankees would call * smart,*
or rather, in the true Yankee pronunciation, which gives a more admiring tone to it,
*smah't.' I believe he had made some friends with the mammon of unrighteousness
among my lx)rd Chamberlain's men, and by underhand dealings obtained possession
of stage copies of sundry plays of Shakespeare which happened to be unusually
popular. His name does not appear often in the Registers in these years. After he
was foiled in his attempt to print The Merchant of Venice in 1598, he made one other
entry towards the close of that year, and succeeded in getting permission to print
Marston's Satires. Then in March of the next year he tried to enter a translation of
Stephan's Herodotus^ but was * staied.' Again in the following October he was per-
mitted to print a History of Don Frederigo^ but with the permission was coupled the
very unusual condition that he should print * only one impression and pay six pence in
the pound to the use of the poore ' ; manifestly, James Roberts was in ill repute. Hia
next venture was in May, when he tried to enter *A morall of Clothe breches and
velvet hose. As yt is Acted by my lord Chamberlcns ser\'antes,' but there follows the
proviso * that he is not to putt it in prynte Without further and belter Aucthority.*
Two days later, on the 29th of May, he again tried to enter a book : * the Allarum to
London,* and again there follows the incvitai)le caveat * that yt be not printed with-
out further Aucthorilie.' These two items, which appear in their proper order in the
main body of the Registers^ the clerk, as I suppose, briefly jotted down on the blank
page at the beginning of the book, as a reminder to keep his eye on James Roberts.
When, therefore, on the 4th of August, James Roberts brought forward four more plays
that were performed by * my lord chamberlen's menn,' the clerk noted them down
on his fly-leaf under the others, and did not take the trouble to repeat James Rob-
erts's name, which was already there in the margin opposite the * Clothe breches and
velvet hose,* but added (what was almost the synonym of James Roberts) * to be
staied.'
This it was, the bad reputation of James Roberts, which caused the printing of
these plays when first offered to be forbidden. Be it remembered that all this, on
my part, is merely conjecture. What the circumstances were which, within the
month, gave to Thomas Pavyer and Andrew Wyse and others the privilege of print-
ing these very plays, we do not know, and cannot know unless some new sources of
information are discovered. We must remember that Heminge and Condell, when
they issued the First Folio, denounced every one of these printers as 'injurious
imposters,' who had abused the public with * stolne and surreptitious copies.* Where
the line was among the printers, which the Master W'ardens of the Stationers drew,
blessing some and banning others, we cannot know. Only it looks as though where
298 APPENDIX
all were bad James Roberts was somehow among the worst, and that to his nnsayory
reputation is due the fact that we have no Quarto edition of As You Like //.
Staunton expressed the hope that a Quarto might yet be discovered. But I fear
the hope is groundless. When Master Blounte and Isaak Jaggard received per-
mission in 1623 to print the First Folio, a list of plays was made of such as *■ are not
formerly entred to other men,' that is, of such of which there were no Quarto copies.
In this list stands As You Like It,
The conclusion, therefore, is safe that the only Text we shall ever have for thb play
is that of the First Folio, and we may well congratulate ourselves that it is, on the
whole, unusually good.
The only voice dissenting from this opinion in regard to the excellence of the First
Folio is that of Joseph Hunter, and his voice is very dissenting indeed. * The text
* has come down to us,' he says (i, 331), * in a state of very gross corruption. Some-
< times speeches are assigned to the wrong characters. Sometimes the corruptions
' are in particular passages. There are within the compass of this play at least twenty
* passages in which the corruption is so decided that no one would for a moment think
*■ of defending the reading : and there are about fifteen where the probability of cor-
* ruption is so great that the most scrupulous editor would think it his duty, if not to
' substitute a better text, yet to remark in his notes the text as delivered to us and the
< text as it probably should be.' I am afraid that the excellent Himter has here said
more in a minute than he could stand to in a month. We might reasonably expect
that after this prologue, which roars so loud of gross corruption and thimders in the
index, he would help us bravely to a purer text in the fifteen or twenty passages
which he had in mind. But, omitting his notes purely illustrative, in which he is
always happy, bringing forth for us, from the stores of his great learning, things new
and old,-— omitting these, his notes on the text, as such, amount to four in number,
and of these four, two sustain and uphold the Folio.
Knight's opinion is that *■ the text of the original Folio is, upon the whole, a very
* correct one ;' and Grant White, much more emphatic in his praise, says that *the
* text of As You Like It exists in great purity in the original Folio. Few of its cor-
< ruptions are due to any other cause than the lack of proof-reading ; and those few
* it is not beyond the power of conjectural criticism to rectify.' Of the two extremes,
I think. Grant White is nearer the truth than Himter. Every student, however, with
the Textual Notes in the present edition before him, can solve the question for him-
self, and with decidedly more profit than if it were solved for him. Those who can
find any pleasure in such a task will make the examination for themselves ; and for
those who do not care for it, it would be a waste of time to prepare it.
Halliwell (p. 261) notes the somewhat singular fact that * a copy of the First
< Folio many years in the possession of the late James Baker of King's Arms Yard, con-
* tains two cancelled leaves of As You Like It in sheet R, op rather two leaves, each
* of which has been cancelled on account of one of the pages being wrongly printed.
* The first is a cancel of sig. R, comprising pp. 193, 194, the first page being enon-
* eously given as 203, and the signature as R 2. The second is the last leaf of the
* sheet, pp. 203, 204, the second page of which is misprinted 194. There do not
* appear to be any textual variations in consequence of these cancels, which are chiefly
* curious as showing that the work received some corrections while in the process of
THE TEXT 399
< being passed through the press. In another copy of the First Folio, at p. 204, col.
* I, the Qown's speech, "a ripe age," is given to Orlando, and William's speech,
* immediately following it, is assigned to the Gown.' I am inclined to think that
what Halliwell has here attributed to two copies is true of only one. The ' Baker
copy * to which he refers is now in the Lenox Library in New York ; it is the cele-
brated copy which is supposed to be dated 1622 instead of 1623 ; and it is on the
cancelled page 204, misprinted 194, of this copy that the Clown's speech, <A ripe
age,' &c. is given to Orlando, and William's speech given to the Qown ; so that to
this extent there were textual variations in consequence of these cancels, and they
are the only ones, in this play, mentioned by Lenox (p. 36) in his printed collation.
In all copies, I believe, p. 189 is misprinted 187 ; and on p. 197 the running title
is Ai Yoa Like It,
Practically, the text of the Four Folios is one and the same. The discrepancies
between the First and the Fourth are mainly such as we might expect in the changes
of the language within the dates of publication. In the last century Steevens pro-
fessed to give to the Second Folio a preference over the First. But I doubt if this
preference sprang from any very deep conviction ; I am not sure that Steevens did not
profess it mainly for the sake of annoying Malone, whose * learning and perspicacity '
Steevens extolled chiefly for the purpose, I am afraid, of calling him in the same sen-
tence his * Hibernian coadjutor,' a cruel little stab at one who had tried to obliterate his
nationality, it is said, by dropping, with the letter^, the accent on the final vowel of his
name. In the present play there are two or three instances where unquestionably the
Second Folio corrects the First. For instance, Oliver says (IV, iii, 150) : * I briefe, he
led me to the gentle Duke ' ; this trifling tjrpographical error is corrected in the Second
Folio to *^In brief he,' &c. Again, in line 163 of the same speech, Oliver says ' this
napkin died in this blood,' where the Second Folio reads * died in his blood.' But
these are insignificant, and not beyond the chance corrections of a good compositor,
who, however, overshot the mark when he changed Rosalind's words (IV, iii, 71)
from * false strains ' to * false itrings^ and did even worse for Orlando, when one of
the finest sentences in the whole play was converted into limitless bombast. * I will
chide no breather in the world,' says Orlando in the Second Folio, * but myself, against
whom I know no faults.' It is a little singular that what is always in the First Folio
* Monsieur ' is in the Second and following Folios, Mounsieur. Whether this indi-
cates a change in general pronunciation from Elizabeth's time to Charles the First's,
or is merely peculiar to one compositor, I do not know.
The evidences of haste in this play, which Wright points out, such as the same
name for two characters, the use of < Juno ' for Venus, and the like, are chargeable, I
am afraid, to the author rather than to the printer. The conclusion then remains
unshaken that in the First Folio we have an unusually pure text, and that in this, as
in everything else about this delightful comedy, it is exactly As You Like It.
/
3C50 APPENDIX
DATE OF COMPOSITION
The Date of the Composition of a Play may be approximated by External and
by Internal evidence. External evidence, which is generally documentary, gives us a
date before which a play must have existed in some shape or other, and Internal evi-
dence, which consists of allusions, in the play itself, direct or indirect, to contemporary
events, gives us a date after which the play must have been written.
First, tlie External evidence in the case of As You Like It is the provisional entry
in the Stationers' Registers^ which was discovered by Steevens. Although no publi-
cation of the play followed this entry on the 4th of August, 1 600, yet this record has
been accepted, not unnaturally, as sufficient proof that the play in some shape or other
was in existence at that date. Wright thinks that * the play was probably written
* in the course of the same year,' and conjectures that the reason why it was not after-
ward entered for publication, in due form, is that * the announcement of its publi-
* cation may have been premature and the play may not have been ready.' With the
exception of Capell (who knew nothing of this entry in the Stationer^ Registers),
and, perhaps, of Knight, no editor oversteps the date of this year, but all concede
that the latest limit for the Date of Composition is 1600. Other External evidence^
than this in the Stationers^ Registers, there is none.
For the earliest limit we must look to Internal evidence, with which the Play
itself must supply us. From this source, however, we gain nothing either satisfactory
or decisive, at least so decisive as to carry instant conviction. Before Steevens had
discovered the memorandum in the Stationers^ Registers, Capell conjectured that
the Date of Composition was about 1 607, and on two grounds : first, because at about
that date < the foolery of masques was predominant ;' and secondly, because in Jaques's
* lean and slippered Pantaloon ' he found an allusion to an obscure play of that date,
called The Travels of Three English Brothers, wherein Will Kempe proposes to act
the part of ' an old Pantaloune.' This is a good illustration of the small reliance
which is in general to be placed on this Internal evidence. Had not the entry in
the Stationers' Registers been subsequently discovered, probably no arguments could
have conclusively disproved this far-fetched conjecture of CapelVs.
In another piece of Internal evidence Capell was more successful. He discovered
the * dead Shepherd ' to be Marlowe, whose saw : * Who ever loved that loved not at
* first sight,' Phebe found to be of might. (Capell has not received the credit of this
discovery ; it is always accorded to Malone. Capell gives, on p. 66 of his * School,'
the extract containing this line from Hero and Leander.) Marlowe's poem was pub-
lished in 1598. It was entered in the Stationers' Registers on the second of March,
in that year. This seems to afford the earliest date after which the play was written,
thus narrowing down the range to the years 1598, 1599, and 1 600. Some slight
doubt, however, can be cast on 1598 as the very earliest date. Marlowe died in
1593 ; and in the five years that passed before his Hero and Leander, with Chapman's
conclusion, was printed, it is not impossible that Shakespeare may have read the line
before it was published, — nay, even before Marlowe's death, while the poem was still
in manuscript in Marlowe's hands. It is generally conceded that Lodge must have
read the Tale of Gamelyn in some manuscript. W^hy may not Shakespeare, as
Malone surmises, have thus read Hero and Leander, or, as Ilalliwell suggests, have
heard it recited ? I cannot say that I think either supposition likely. The mere fact
that the quotation is put in the mouth of Phebe implies that the poem, at that time,
was well known and popular, and would be recognised by the audience. Still, these
• ' *L,
DATE OF COMPOSITION 301
are suppositions which all have a right to make, and that we can make them, or others
like them, in regard to allusions thus detected in this play, helps to reveal the imsure,
shifting character of Internal evidence.
Again in Orlando's verses : * From the East to farthest Ind^ No jewel is like Rosa-
lind ; Her worth being mounted on the wind Through all the World bears Rosalind.'
Chalmers (p. 382) sees * obvious allusions to the frequent voyages for distant dis-
* covery, which seem to have ended, for a thne, in 1596.' Again, on p. 383, Chal-
mers continues : ' It seems to be more than probable that the intrigues at Court, which
* became apparent to every eye, after the return of Essex from Ireland, on the 28th
*of September, 1599, may have extorted the sarcasm of the Duke's question: "Are
* " not these woods More free ixovo. peril than the envious Court ?^^ * * If there be any
* allusion,' Chalmers goes on to say, * in these reflections, to the fall of Essex, who
* was sequestered from Court soon after his arrival, the epoch of As You Like It must
*be fixed in the winter of 1599. There can be no doubt that it was imitated by
* Drayton in his Owlf which was first published in 1 604.'
Again, the negative proof is adduced that if the play had been acted before 1598,
Fran'CIS Meres would have enumerated it, with the others which he mentions, in
his well-known reference to Shakespeare. Cuthbert Burbie entered the Palladis
Tamia on the 7th of September, 1598; of course Meres must have written it before
that date, and although it does seem highly improbable that Mercs should have men-
tioned such a play as The Comedy of Errors or Titus AndronicuSt and omitted As
You Like Itf yet we must remember that Meres did not undertake to give a complete
list ; it is to be presumed that only the most popular plays are there given, and if the
play had only just then been brought out, its popularity could hardly have been
sufficiently tested. Moreover, Meres's list of the plays of Shakespeare is longer than
his list of any other poet, and he may not have cared to swell it.
Again, in Rosalind's words, * I will weep for nothing like Diana in the fountain,'
Whalley detected an allusion to a statue of Diana set up on the Eleanor Cross in
Cheapside, *with water prilling from her naked breast' (see notes on IV, i, 147).
According to IIalliwell, Stowe, in his edition of 1598, described this statue as per-
fect and in use ; but in his edition of 1603 Stowe says that the statue is * now decayed.*
* It is evident, therefore,' says Halliwell, * that if Shakespeare alludes to the Cheap-
*side fountain, the words of Rosalind must have been penned somewhere between
*the year 1596, when it was erected, and 1603, when it had been allowed to go to
* ruin. At the same time, it should be remembered that the image of a fountain-
* figure weeping was an exceedingly common one, and that Diana was a favorite
•subject with the sculptors for such an object.*
I think Shakespeare is entitled to more respect, to say the very least, than to sup-
pose that in Rosalind's words he made any allusion to the Cheapside Diana. If that
statue was perfectly familiar to his audience, and in running order, it is almost incon-
ceivable that any hearer in that audience could ever have associated, for one single
instant, this statue with Rosalind's weepings or that any amount of poetic license can
so ludicrously defy the laws of physiology.
Again, Wright says (p. vi), * there may possibly be a reference in V, ii, 71 (" 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 [1603]. Again, in IV, i, 180 (" by all pretty oaths that are not danger-
* « ous ") we might imagine the Act to Restrain the Abuses of Players (3 Jac. I, chap.
< 21, 1605) to be pointed at. But both these would give dates too late, and they may
302 APPENDIX
* easily have been added at some subsequent representation of the play, which was
* mainly composed, as I think, in the year i6cx), and after the other plays which are
'mentioned with it in the entry at Stationers' Hall.'
TiECK is positive in his date of the composition. In his JVaf^s (p. 30S) he speaks
of this comedy as * the most daring and defiant of all Shakespeare's comedies ; here
< Shakespeare, with his palms and lions and snakes, laughs at time and place, and
* derides all rules of composition ; nay, the very rules which he himself devised and
' elsewhere practises he here parodies, and wends his wild and wanton way to make a
* pure, free, joyous Comedy, which was assuredly first performed in the summer of
* 1599. Therefore shortly after Twelfth Night. ^ Even if Tieck be correct in his
conclusion, and other critics have adopted the same year, 1599, yet the reasons which
have led him to it are, to say the least, fanciful. Tieck's knowledge of our early
drama was remarkable, very remarkable for a foreigner and at that early date, in the
first quarter of this century, but he can scarcely be accepted as a safe guide now. He
had no drama nor early literature at home to study, and so was driven, as his coun-
trymen ever since have been driven, to study those of other nations. In the present
case he discovered that * B. Jonson, in Every Man Out of his Humour^ ridicules
* the freedom from all rules which Shakespeare displayed in As You Like It* This
ridicule was infused not only into the Prologue^ where it is pointedly said that *Art
hath an enemy called Ignorance,' but throughout the running commentary in the play
itself the rules which ought to govern comedy are pedantically laid down. ' The play
< was a failure,' says Tieck, < and so in the year 1 600 Jonson brought out another com-
* edy, Cynthia's Revels^ wherein he spoke even more offensively of himself as the great
* reformer of the stage,' and throughout, so says Tieck, referred to Shakespeare ; but
pre-eminently in the Epilogue, where Jonson vaunts himself, and, in contemptuous dis-
regard of his audience, says of his own work : * By 'tis good, and if you like 't
you may.' * The title of his play,' says Tieck, * which was not perhaps, at first, As
< You Like Itf Shakespeare intended as a jest on Jonson's boastfulness and braggart
< treatment of his audiences. In effect, Shakespeare says : " If you like it, and as you
* " like it, it is a comedy. It is not so in itself, but only after you, the spectators, have
* " so pronounced it by your applause." ' It is almost needless to call attention to the
visionary supposition to which Tieck is forced to resort in order to support his theory,
— ^viz. : that this comedy bore originally a different name ; without some such postulate
his dates will not fadge. Tieck asserts that Every Man Out of his Humour was ' a
* failure, which greatly irritated its author ' ; a sequence entirely credible when * B.
* Jonson's ' temperament is remembered ; but that the play was a failure escaped the
research of Gifford, who says of it : * its merits are unquestionable ; but I know not
*its success.*
W. W. Lloyd suspects that * Shakespeare's creation of Rosalind followed that ol
* Portia, and pretty closely * ; it undoubtedly followed Portia, but if the date of The
Merchant of Venice be about 1 5 96, and if the line from Marlowe be taken from the
volume published in 159S, then at least two very busy years must have separated the
Forest of Arden from the Garden of Belmont.
MoBERLY says : * This charming comedy was probably represented in 1599, the
* year when Essex was Lord Lieutenant in Ireland, and when a new Spanish Armada
*was expected A period which may be called that of Shakespeare's highest
* genius. He was then thirty-five years old ; his p>owers of thought were maturing,
* and his language was pure, manly, and simple in the highest degree.*
Fleay also adopts this year, 1599, as that wherein this comedy was written. The
DATE OF COMPOSITION 303
Globe Theatre was opened in the spring of that year, and among the plays produced
after the opening was Henry Vy * and soon after in this year As You Like It.'' — Shake-
speare's Life and IVark, p. 138. Again, on p. 208, Fleay says, * The date may, I
' think, be still more exactly fixed from I, ii, 84, ** the little wit that fools have was
'"silenced," which alludes probably to the burning of satirical books by public
'authority 1st of June, 1599. Every indication points to the latter part of 1599 as
* the date of production The comparison of the world to a stage in II, vii, sug-
< gests a date subsequent to the building of The Globe, with its motto, Ta/us mundus
' a^ histrionem ; and the introduction of a fool proper, in place of a comic clown,
' such as is found in all the anterior comedies, confirms this : the " fools " only occur
* in plays subsequent to Kempe's leaving the company.' I have no great faith in the
allusion to the burning of the satirical books, but that the change from * clowns ' to
* fools * should follow the retirement fix)m my lord Chamberlain's men of Will Kempe,
the pre-eminent * clown,' is one of those shrewd, happy inferences which Fleay's
through and through familiarity with the stage-history of Shakespeare's day enables
him at times to make, with so much force.
To the two kinds of evidence. External and Internal, concerning the Date of Com-
position there may be added a third, — ^viz. : that derived from a close scrutiny and com-
parison of the metre of the different plays. It is assumed that certain peculiarities
of style or methods of poetic treatment will mark the growth of the dramatist, and
that, in general, the Seven Ages will prove true of the inner as of the outer man.
This idea had been floating dimly in men's mimis ever since it was first put forth by
Edwards in his criticism of Warburton, in the last century. But it attracted little
attention, despite the pleas put forth in its behalf by such fine minds as Spedding
in England and Herzberg in Germany, until the JVinu Shakspere Socieiy arose and
Fleay came to the fore with his laborious results of years of silent study. Since then
a fierce light has beat on * weak endings * and * light endings,' on * end-stopped lines *
and * pauses,' until now we have all of Shakespeare's plays as elaborately, if not as
accurately, tabulated and calculated as the Ephemerides of the Nautical Almanac,
If the results have not been quite commensurate with the outlay, it is not for a moment
to be thought that the time for all the workers has been lost. Like the magic book
of the physician Douban in the Arabian Tale, by merely turning the leaves of Shake-
speare a subtle charm is imparted and absorbed. If in the first flush of accomplished
work the advocates of this new test somewhat exaggerated their claims for its accu-
racy, surely with Burke, who could * pardon some things to the spirit of Liberty,' we
may pardon some things to the zeal for Shakespeare. And we should surely remem-
ber such temperate words as these of Dr Ingram's, which we may accept as a sum-
mary of the best thought on the subject : * I quite recognise the necessity of subordi-
* nating verse-tests in general to the ripe conclusions of the higher criticism, if these
* two sorts of evidence should ever be found at variance. But I believe that the more
* thoroughly the former are understood, and the more scientifically they are used, the
* more they will be found in accordance with the best aesthetic judgements. What
•appears to me surprising is, not that the verse-tests should sometimes appear to
* sanction wrong conclusions, but that they should, to such a remarkable extent, agree
* amongst themselves, and harmonize with every other mode of investigation which
'can be applied to the same questions.'
Bathurst, who was the first, I believe, to apply systematically to all the plays the
♦est of metre as a means of determining their chronology, says (p. 76) : *As You Like
304 APPENDIX
* It is in a more advanced style of metre than Much Ado [which was printed in
* 1600] ; see, particularly, the si^eech of Jaques about the Fool, Orlando's speech, * If
* you have,' &c. Double endings not unusual. Rhymes at the end of speeches occur.
* One speech is in alternate rhymes, III, i. The " Seven Ages " are well known.
* The verse there broken, though it is an enumerative passage. Weak endings :
* " Swearing that we || Are mere usurpers." " For 'tis || The royal disposition of that
* " beast." The speeches often end on a half-line, which is, I believe, always regu-
* larly taken up. This is perfectly the reverse of an historical or political play. I
'would put it as early as possible. So say 1598 or 1599.*
Ingram, however, places it, according to its proportion of * Light and Weak End-
ings,' after Much Ado. In his List {^New Shakspere Society^ s Transactions^ 1 874,
Series I, p. 450) Much Ado is No. 14, As You Like It, No 15, and Twelfth Nighty
No. 16. The Merchant of Venice is No. 9. This would put the date oi As You Like
It well into 1600, and to that extent confirms Wright's conjecture.
FuRNiVALL divides all the plays into * Periods,' and the * Periods * into * Groups.'
This play is placed in * the Second Period,' and in a Group of * Three Sunny- or
* Sweet-Time Comedies : Much Ado (1599-1600) ; As You Like It (1600) ; Twelfth
* Night {l(>oi):
DowDEN divides the Histories, Comedies, and Tragedies into Early, Middle, and
Later each, and subdivides into Groups. The same three plays, just enumerated, he
places in a Group of * Musical Sadness/ with Jaques as a link to the next Group of
< Discordant Sadness.'
To recapitulate :
The Date of Composition of As You Like It is assigned by
Collier to * summer of* 1598
Dyce ^1598
Neil 1598
Bathurst, Grant White 1598 or 1599
Hudson * between * 1598 and 1599
Malone, Skottowe, Staunton, Haluwell, Cowden-Clarke,
Moberly, Rolfe, Fleay 1599
Rev. John Hunter 1599 or 1600
Chalmers, Drake, Wright, Furnivall 1600
Knight 1600 or 1601
Capell 1607
In conclusion, there is on this Date of the Composition a happy unanimity, which
centres about the close of the year 1599 ; if a few months carry it back into 1598, or
carry it forward almost to 1 601, surely we need not be more clamorous than a parrot
against rain over such trifles. As I have said before, and shall repeat until I change
my opinion, the whole subject is one which to my temperament has absolutely no
relation whatsoever to the play itself or to the enjoyment thereof. An exact know-
ledge, to the very day of the week, or of the month, when Shakespeare wrote it, can
no more heighten the charm of Rosalind's loveliness and wit than would the know-
ledge of the cost per yard of her doublet and hose. Does ever a question concerning
the Date of Composition arise in our thoughts when we are sitting at the play ? Still,
it would be a very grey, sombre world if we all thought alike, and undoubtedly to
SOURCE OF THE PLOT 305
many minds of far higher reach than mine the Date of the Gmiposition has charms :
for such as seek information about it, in the foregoing pages a full and, I trust, impar-
tial account of what has been written thereon will be found.
SOURCE OF THE PLOT
In 1754 Dr Zachary Grey {Critical^ Histaricaly and Explanatory Notes on
Shakespeare^ vol. i, p. 156) wrote : * Several passages in this play were certainly bor-
* rowed from the Cokeys Tale of Gamelyn in Chaucer,' and thereupon proceeded to
give an abstract of this Tale of Gamelyn^ reciting the passages wherein Shakespeare
had followed Chaucer, as Grey supposed.
Some time after, both Capell and Farmer, in the same year, 1767, announced
what was more nearly the truth, that As You Like It was founded, not on the Tale
of Gamelyn^ but on a novel by Lodge.
Capell, in the Introduction to his edition (p. 50), writes as follows : *A novel or
* (rather) pastoral romance, intitl'd " Euphues* Golden Legacy f* written in a very fan.
* tastical style by Dr Thomas Lodge, and by him first publish'd in the year 1590, in
* quarto, is the foundation oi As you like it. Besides the fable, which is pretty exactl)
* follow'd, the out-lines of certain principal characters may be observ'd in the novel ;
* and some expressions of the novelist (few, indeed, and of no great moment) seem
* to have taken possession of Shakespeare's memory, and thence crept into the play.'
Dr Farmer's note is to be found in his Essay On the Learning of Shakespeare
(one cannot but think, from the style and contents of this Essay, that a more exact
title would have been On the Learning of Richard Farmer^ and the Ignorance of
William Shakespeare), On p. 15 the essayist says : *As You Like It was " certainly
* " borrowed," if we believe Dr Grey and Mr Upton, from the Cok^s Tale of Game^
* lyn^ which, by the way, was not printed till a century afterwards ; when, in truth,
< the old Bard, who was no hunter of M.S.S., contented himself with Dr Lodge's
* Rosalynd or Euphues^ Golden Legacy e,^
Steevens supplemented Fanner's remark with: 'Shakespeare has followed
* Ix)dge's Navel more exactly than is his general custom when he is indebted to such
' worthless originals ; and has sketched some of his principal characters and borrowed
' a few expressions from it. His imitations, &c., however, are in general too insig-
' nificant to merit transcription. It should be observed that the characters of Jaques,
* the tHown, and Audrey are entirely of the poet's own formation.'
This judgement of Steevens stirred Collier's indignation; in the Poetical
Decameron (vol. ii, p. 176, ed. 1820) Collier exclaims, in reference to it, * Steevens
' was a tasteless pedant, and nothing better could be expected from him.'
Knight, too, was no less angered, and after quoting the remark of Steevens,
which I have just given, bursts forth : 'All this is very unscrupulous, ignorant, and
*■ tasteless. Lodge's Rosalynd is not a worthless original ; Shakspere's imitations of
* it are not insignificant. Lodge's Novel is, in many respects, however quaint and
'pedantic, informed with a bright poetical spirit, and possesses a pastoral charm
'which may occasionally be compared with the best parts of Sidney's Arcadia^
When Collier reprinted Rosalynde in his Shakespeare Library^ he again replies
to Steevens : ' Comparing Rosalynde with As You Like It^ the former may indeed be
do
3o6 APPENDIX
' tenned " worthless,'* inasmacb as Shakespeare's play is so immeasiirabty svperior to
' it; . . . but placing Lodge's Novel by the side of other productions of the same class,
' we cannot hesitate to declare it a very amusing and varied composition, full of agree-
' able and graceful invention (for we are aware of no foreign authority for any of the
'incidents) [Does "foreign authority" exclude the Tale of Gamelynf — Ed.], and
* with much natural force and simplicity in the style of the narrative. That it is here
* and there disfigured by the faults of the time, by forced conceits, by lowness of allu-
' sion and expression, and sometimes by inconsistency and want of decorxmi in the
< characters, cannot be denied. There are errors which the judgement and genius of
* Shakeq>eare taught him to avoid ; but the admitted extent and nature of his general
' obligations to Lodge afford a high tribute to the excellence of that " original," which
< Steevens pronounced " worthless." It may be almost doubted whether he had even
< taken the trouble to read carefully that performance upon which he delivered so
'dogmatical and definitive a condemnation.'
Grant White rates Lodge's Novel differently. 'Although,* he says (ed. i),
' there is this identity in the plots of the tale and the comedy, Shakespeare's creative
' power appears none the less remarkably in the latter. The personages in the two
' works have nothing in common but their names and the functions which they per*
' form. In the tale they are without character, and exist but to go through certain
' motions and utter certain formally constructed Complaints and Passions. The ladies
' quote Latin in a style and with a copiousness which would delight a Women's Rights
' Convention, and quench, in any man of flesh and blood the ardor of that love which
is the right most prized of woman. Rosalind, for instance, musing upon her dawn-
ing passion for Rosader and his poverty, says : " Doth not Horace tell thee what
' " methode is to be used in love ? Querenda pectinia primum^ post nummos virtus**
' There was a model for the traits and language of Shakespeare's Rosalind !'
Nor did age mellow White's judgement In his second edition he reiterates:
' The comedy is, in fact, a mere dramatization of the tale — an adaptation it would
* now be called — the personages, the incidents, most of the names, and even some of
' the language, being found in Lodge's Novel. The chief difference between the two
' — more remarkable, even, than that one is a tale and the other a drama — is that the
' ambitious tale is one of the dullest and dreariest of all the obscure literary perform-
' ances that have come down to us from past ages, and the comedy, written as joumey-
' work by a playwright to please a miscellaneous audience, is the one bright, immortal
' woodland poem of the wcM-ld.'
Dyce (ed. iii) : ' If Steevens somewhat undervalues [Lodge's RosafymU]^ Mr
'Collier greatly overrates it*
W. C. Hazlitt, on the other hand, in his reprint of Collier's S^iespeare Likrary^
says : ' It appears to me that Mr Collier states the matter fairly enough.'
' Never,' says Campbell, ' was the prolixity and pedantry of a prosaic narrative
' transmuted by genius into such magical poetry. In the days of James I, George
' Heriot, the Edinburgh merchant, who built a hospital still bearing his name, is said
' to have made his fortune by purchasing for a trifle a quantity of sand that had been
'brought as ballast by a ship from Africa. As it was dry, he suspected from its
'weight that it contained gold, and he succeeded in filtering a treasure from it.
' Shakespeare, like Heriot, took the dry and heavy sand of Lodge and made gold
'out of it*
As we have seen, Steevens, by his supercilious reference to Lodge, stirred Knight's
anger, and Dr Farmer was equally unfortunate when he said that ' the old bard was
SOURCE OF THE PLOT yyj
* no hunter of MSS.* * Thua,* exclaims Knight, * " the old bard," meaning Shake-
< speare, did not take the trouble of doing, or wa^ incapable of doing, what another
* old bard (first a player and afterwards a naval sui^eon) did with great care — consult
* the manuscript copy ' of the Tale of Gamelyn. Thereupon, Knight undertakes to
show that both Shakespeare and Lodge made use of the Tale of Gamelyn. That
Lodge was indebted to Gamelyn will be, I think, conceded by all, but Shakespeare*s
indebtedness to that source is founded by Knight on three incidents wherein Lodge
and Shakespeare do not agree, and wherein Shakespeare took the hint, so Knight
thinks, from Gamelyn : First, Lodge represents Rosader (pronounced, by the way,
with the accent on the first syllable : R6sader) as having had bequeathed to him the
largest share of his father's estate. That to Orlando should have been devised the
smallest. Knight maintains is due to the hint which Shakespeare took from the delib-
erations of the old Knight's friends in Gamelyn. To this difference in treatment
Knight thinks is due the entirely different conception of the two characters, Rosader
and Orlando. Secondly, in Gamelyn^ the old man, whose sons are fatally injured by
the Wrestler, * bigan bitterly his hondes for to wrynge.* In Lodge's Novel the father
* never changed his countenance.' Wherefore, when Shakespeare represents the old
father as making * pitiful dole ' over his boys. Knight detects therein the direct traces
of Gamelyn. Thirdly, in Lodge, when the Champion approaches Rosader, he sim-
ply gives him * a shake by the shoulder ' ; m As You Like It he mocks Orlando with
taunting speeches ; and so in Gamelyn he starts towards the youth, *■ and sayde " who
* " is thy fader, and who is thy sire ? For sothe thou art a gret fool, that thou come
•«»hire."'
The force of these proofs is, I think, weakened by the following considerations :
Had the largest share of the father's estate been bequeathed, contrary to English
custom, to the youngest son, Orlando, Oliver's jealousy and envy would not have
been motiveless ; it would have been scarcely unnatural. Secondly, the bitter lamen-
tations of a father over the violent deaths of his sons, or, thirdly, the mocking jeers
of a braggart, are none of them of so unusual or of so extraordinary a character that
Shakespeare need have himted round for authority or suggestion.
In The New Shakspere Socieiys Transactions (Part ii, p. 277, 1882) W. G. Stone
compares As You Like It and Rosalynde. In . addition to Knight's three points of
resemblance between Gameljm and Orlando, Stone, in this good essay, detects < five
' other parallelisms, more or less clear,' as follows : 'After his father's death, Johan,
* Gamelyn's eldest brother, " clothed him [Gamelyn] znAfed him yvel znd. eek wrothe "
* [see 1. 73, post\ Orlando complains to Adam that Oliver's " horses .... are faire
* " with their feedingy .... hee lets mee feede with his Hindes." Lodge only says,
' generally, that Saladym made « 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." When Oliver called Orlando a ** villaine," the latter replied : " I
< " am no villaine : I am the yongest sonne of Sir Rowland de Boys, he was my father,
* " and he is thrice a villaine that saies such a father begot villaines." Gamelyn
* answered the epithet "gadelyng," thus: << I am no worse gadel3mg ne no worse
* ** wight. But bom of a lady and geten of a knight " (11. 107, 108). As Gamelyn
* rode away to the wrestling-match, Johan [hoped] '* He mighte ireke his nekke in
*"that wrastl)mg" (1. 194). In commending Orlando to Charles's "discretion,"
* Oliver said : " I had as liefe thou didst breake his necke as his 6nger.'* The wrestler
* thus taunted Gamelyn : " Come thou ones in myn bond, schalt thou never the " (1.
* 254). Duke Frederick said : " You shall trie but one fall." Charles answered :
/
♦•
3o8 APPENDIX
* " No, I warrant your Grace, you shall not entreat him to a second." Lastly, the
* forest of Arden and that to which Gamelyn and Adam betook themselves are
* described by the same adjective. Adam remarked : " That lever me were keyes for
*"to here, Then walken in this wilde woode my clothes for to tere." [See/<?j/.]
* Compare "And to the skirts of this wilde Wood he [Duke Frederick] came." '
I cannot say that I think these five additional instances carry much weight. The
phrases common to the Tale and the Drama are in no respect either unusual or strik-
ing. It is only fair to add that the author of the paper by no means insists on their
parallelism, and that they are given only incidentally to the main purpose of his Essay,
which, as I have stated, is a comparison between Shakespeare and Lodge.
W. W. Lloyd, whose Critical Essays form by far the most valuable portion of
Singer's second edition, shares to some extent Knight's belief that Shakespeare ha]
at least read Gamelyn. On p. 1 14 he says : * There can be no doubt that [Lodge
* Novel'\ was carefully gone through by the poet, and it is not improbable that he had
* also in his hands the Tale of Gamelyn. Still, in this case, as in others, we must not
* rashly conclude that we possess all the sources. We have only negative proof that
< Shakespeare was the first to dramatise Rosalynde^ and in those days of originality
' we shall make a great mistake if in eagerness to elevate Shakespeare we disable the
* inventive resources of his predecessors and contemporaries. Hence we tread but on
* uncertain ground when in comparing novel and play we too broadly assume that the
' improvements in the latter are necessarily more than adoptions from another source,
* an intermediate mind. Still, duly guarded, the value of comparison remains ; the
* glory of Shakespeare rests in any case not on the taste or judgement of particular
< alterations, but on the completeness with which, among multitudes of alternatives, he
* has gone right where he might so easily have been tempted wrong ; and in the com-
* parison of the finished work with the remoter rudiment, however many links of inter-
* mediate developement are lost, the attention is invariably guided to the spirit in which
* irregularities were corrected, relief supplied, and crudity or coarseness refined or
* suppressed.'
There is no evidence in As You Like It which is to me at all conclusive that
Shakespeare drew any the smallest inspiration from The Tale of Gamelyn. The
atmospheres of the two works are heavenwide apart, and as for mere verbal repetitions,
it is not impossible that a number of phrases might be found common to As You
Like It and the Book of Job. As between Lodge and Shakespeare, however, the
case is different ; there can be no doubt that the Novel is interwoven in the drama,
but whether by Shakespeare's hand, or, as Lloyd suggests, by another's, who can tell ? ly
Whether Shakespeare went directly to the Novel itself, or gilded with his heavenly
alchemy some pale, colorless drama which had been tried and failed, but whose
dramatic capabilities Shakespeare's keen eye detected, I find it impossible to decide.
The trivial blemishes in As You Like It which have been ascribed with probability,
by Wright and others, to haste on Shakespeare's part, may be attributed, it seems to
me, quite as plausibly to the outcroppings of the original play, which Shakespeare
remodelled, and their presence would still be due, more or less, to haste. Among these,
there is one, however, for which, I think, haste is hardly a sufficient explanation, and
this is, the character of Touchstone. If there is one quality in which Shakespeare is
forever Shakespeare, it is in the unity of his characters, in their thorough individuality,
in their absolute truth to themselves. A hundred and fifty years ago Pope said that
to prefix names to the speeches in Shakespeare's plays was almost superfluous; the
SOURCE OF THE PLOT 309
speeches themselves unerringly proclaimed the speakers. We also know that either
before the entrance of an important character, or very soon aAer, Shakespeare is wont
to give either a prelude or a keynote, as it were, of that character, and with this key-
note we all know how absolutely every subsequent trait xyt utterance is in harmony.
If, then, this test be applied to Touchstone (or, why not say, this touchstone to
Touchstone), will his character from first to last stand it ? Is the * clownish fool '
and the ' roynish clown ' of the First Act, with his bald jests of knights and pancakes,
the Touchstone of the Fifth Act, who had trod a measure, flattered a lady, been
politic with his friend and smooth with his enemy ? Is the simpleton of the First
Act, * Nature's natural ' as he is in truth, the same with the Touchstone who can cite
Ovid and quarrel in print, by the book ? Are there not here two separate characters ?
^jhese two clowns cannot be one and the same. The true Touchstone we meet for the
^frst time in the Forest of Arden, and although when Jaques speaks of him we have
already seen him and heard him, yet it is Jaques who gives us the keynote of his cha-
racter ; and in the Touchstone of the last Act we recognise our old acquaintance, who
solemnly pondered that * from hour to hour we ripe and ripe, and then from hour to
* hour we rot and rot, and thereby hangs a tale.*
However rapid may have been Shakespeare's composition, I cannot suppose — ^it is
to me unthinkable — that from the very first instant each character was not present
before him in perfect symmetry and absolute completeness. For any discrepancy,
therefore, any distortion in the character of Touchstone, haste in composition is
hardly, I think, an adequate explanation, and I humbly suggest one of two courses
as a possible solution : First, either we have, in the Clown of the Second Scene of the
play, the genuine roynish fool of the original old play which Shakespeare rewrote,
and who here crops out, perhaps through an oversight (here, at least, due to haste), or
perhaps purposely retained to please the groundlings; or else, secondly, that the
Clown who cracks his joke about beards and mustard was not Touchstone, but a
separate and very different character, and who should never have been called Touch-
stone. Theobald, be it observed, was the first (and this, too, not till his second edi-
tion) to call this Clown Touchstone. He is our sole authority for it. This Qown
Rosalind threatens with the whip— would she ever have thus menaced Touchstone ?
Although this latter suggestion will relieve Touchstone's character from inconsist-
ency, — an inconsistency which all must have felt, and to which Wright expressly calls
attention, — ^yet the other trifling blemishes remain, such as styling Rosalind at one tune
the * shorter,' and at another time the * taller,' or speaking of * Juno's swans,* &c.
For these, I think, we must fall back on the explanation that they are the survivals of
the older play. Theobald's error in nomenclature (that is, in calling the Clown of
the Second Scene Touchstone) may account for the most serious of all ; but for the
others, I think, we can account by supposing that there was an older drama, which
was intermediate between our As You Like It and Lodge's Navel,
Moreover, the weakness which we all feel here and there in the last scene, in pas-
sages which, as Wright fltly says, < are not, to say the least, in Shakespeare's best
* manner,' — ^all these imperfections will be readily accounted for if we suppose them
to be remnants of the old play, which Shakespeare was either too hurried, or too
indiflerent, to erase. The chiefest objection to this lies in the uncritical method which
is herein implied, whereby we attribute, as a rule, whatever is good to Shakespeare,
and whatever is less good to some one else. Still, I think, the rule may be, for the
nonce, applied with due propriety to the close of this play.
A Furthermore, is there not a mystery hanging over the staying of As You Like It
310 APPENDIX
by the Wardens of the Stationers* Company ? It is not utterly beyond the pale of
possibility that a clue to the mystery might be found in a clashing of pecuniary
interests between the owners of the old play and of the new, and which was never
set at rest until the ownership of both passed into the same hands before the First
Folio was entered on the Stationers' Registers and permitted to be printed.
The student will find elaborate comparisons between Lodge*s Novel and this play
in the Shakespeare Jahrbuch^ vol. vi, pp. 226-249, by Delius ; also an extremely
valuable analysis of the Tale of Gamelyn, in the Shakespeare Jahrbtuh^ vol. xxi, pp.
69-148, by ZUPITZA ; and again in the New Shakspere Society's Transactions^ Part ii,
pp. 277-293, 1882, by W. G. Stone, wherein the writer * examines Shakspere's treat-
* ment of Lodge's Rosalynde from a negative point of view ; and instead of showing
' his agreement therewith, dwells upon his divergence therefrom in varying the plot
' and in modifying the characters.' All these valuable Essays are designed for the
benefit of those who have no access to the originals, and it is needful here merely to
give their titles. In reprinting on the following pages both The Tale of Gamelyn and
Lodge's Rosalynde^ the original material is supplied from which the student, with best
profit to himself, can make his own deductions and comparisons.
THE TALE OF GAMELYN
The Tale of Gamelyn is here reprinted from Skeat's admirable edition {^Clarendon
Press Series y Oxford, 1884). The following few facts, all that are germane to this
play, are wholly derived from that editor's excellent Introduction^ and as much as
possible in his very words: We may roughly date the Tale of Gamelyn near the
middle of the fourteenth century. It so happens that all the copies of it which have
been preserved occur in MSS of the Canterbury Tales; in three of the best MSS,
however, it does not appear ; but when it does appear it is always in the same place,
i. e. in the gap left in Chaucer's work by his omission to finish the composition (or,
more probably, the revision) of the Cook^s Tale. There is, in fact, no connection
between Gamelyn and any work of Chaucer, and no reason for connecting it with
the Cook's TcUe in particular, beyond the mere accident that the gap here found in
Chaucer's work gave an opportunity for introducing it. < I cannot but protest,' says
Skeat, < against the stupidity of the botcher whose hand wrote above it « The Cokes
'Tale of Gamelyn." That was done because it happened to be found next after
< the Cook's Tale, which, instead of being about Gamelyn, is about Perkin the reveller,
' an idle apprentice.'
It so happens that none of the black-letter editions of Chaucer contain the Tale^
which was, in fact, never printed till 1721, but MSS of Chaucer circulated among
readers, and in this way Thomas Lodge became acquainted with it He certainly
made use of a MS, which gave the name of the old Knight as Sir John of Burdeux;
a Cambridge MS is the only one known to Skeat which has the spelling burdeuxs.
Whence Lodge obtained the latter part of his RoscUynde does not iq)pear, but it is
not improbable that he had it horn, some ItaHan novel. Gamelyn is remarkable as
being a story without a heroine ; no female name is even mentioned in it, and it is
only in the fifth line from the end that we are told that the hero < wedded a wife both
good and fair.' Hence it is not surprising that Lodge thought it necessary to expand
the story, and to provide a Rosalind for his Rosader.
THE TALE OF GAMELYN 311
The footnotes are wholly taken from Skeat*s Notes and Glossary, In reprinting,
the only liberty I have taken is to change the character 5 into y at the beginning, and
into gh in the middle, of a word.
LITHETH, and lesteneth • and herkeneth aright, I
And>« schulle here a talkyng * of a doughty knight;
Sire lohan of Boundys * was his righte name, 3
He cowde of norture ynough ' and mochil of game. 4
Thre sones the knight hadde * that with his body he wan ;
The eldest was a moche schrewe ' and sone he bygan. 6
His bretheren loued wel here fader * and of him were agast, 7
The eldest deserued his fadres curs * and had it at the last
The goode knight his fader * Ijruede so >ore, 9
That deth was comen him to * and handled him iiil sore.
But his chief anxiety was for his children's future. He, therefore, sent for some
wise knights to come and help him dispose of his property ; and charged them to
divide his land evenly, and not to forget Gamelyn, his young son. The knights hav-
ing learned his wishes,
Tho lete they the knight lyen * that was nought in hele, 41
And wenten in-to counseil * his landes for to dele ; 42
For to delen hem alle * to oon, that was her thought 43
And for Gamelyn was ^ngest * he schulde haue nought
Al the lond that ther was * they dalten it in two, 45
And leten Gamelyn the ^nge * withoute londe go,
And ech of hem seyde * to other full lowde,
His bretheren might ^ve him lond * whan he good cowde. 4B
When they reported this division to the knight, he liked it right nought, and told
them to keep still, and he would deal out his land at his own will, as follows :
Johan, myn eldeste sone * schal haue plowes f3rue 57
That was my fadres heritage * whil he was on lyue 58
And my myddeleste sone * fyue plowes of lond ;
That I halp for to gete * with my righte bond ;
And al myn other purchas * of londes and of leedes, 61
That I byquethe to Gameljrn * and alle my goode steedes.
I. LitJutk, Hearken ye. The imperative plural. 3. Bffundyt. It ia not clear what is meant
by ' Boundys/ nor is there any clear indication of the supposed locality of the story. ' Boundys/ a
place-name, is perhaps » bounds, marches, border-land; or possibly Bons, near Falaise in Nor*
mandy. 4 . ' He was sufficiently instructed in right bringing up, and knew mudi about sport.'
6. tchrrwe, wicked man. 6. sone he bygan, vis. to make good his reputation. y.
afraid (in a good sense). 9. yore, a long time. 41. • Then they left the knight lying there,
who was not in health.' ^4*. dele, divide. 43. 'To apportion them all to one, that was
their plan.* 44. And for. And because.—— ^-45. dalten, divided. 48. whan he good cowdt^
when he knew what was good, /. e. when he was old enough to know right from wrong ; or, as wc
now say, when he came to years of discretion. Observe that the division of land here proposed waa
not final; the good knight, being still alive, altered it. 57. flowet, plough-lands. 'A plough
of land was as much as could be ploughed with one plough.' — ^Wright, e^, Skeat. 38. om lyuo,
in life ; alive. 61. furckat, i. e. purchases. Still applied, in law, to all pr op er ty obtained
otherwise than by descent.
u
312 APPENDIX
Having thus disposed of his land, he lay stone still and died when his time came.
When he was buried under the grass,
Sone the elder brother • gyled the >^nge knaue ; 10
He took into his hond ' his lond and his leede, 71
And Gamelyn himselfe * to clothen and to feede.
He clothed him and fedde him * yuel and eek wrothe, 73
And leet his londes for-fare * and his houses bothe, 74
His parkes and his woodes * and dedc nothing wel ;
And seththen he it aboughte * on his faire fel. 7^
Now Gamelyn waxed strong, so that neither man nor boy dared vex him.
Gamelyn stood on a day • in his brotheres ^rde, 81
And bygan with his hond * to handlen his berde ;
He thoughte on his londes * that layen vnsawe, 83
And his faire okes ' that down were i-drawe ; 84
His parkes were i-broken * and his deer byreued. 85
Not a single good steed did he have left. Soon after his brother came up, and
asked Gamelyn if the meat was ready, which enraged Gamel3m, who 'swore by
goddes book Thou shalt go bake thyself; I will not be thy cook/ His brother is
astonished at such lang^uage, and Gamelyn rehearses his grievances, thou-xoig his
brother instead of using the respectful youy and winds up with cursing him. Where-
upon his quick-tempered brother replied :
' Stond stille, gadelyng * and hold right thy pees ; 102
Thou schalt be fayn for to haue * thy mete and thy wede ; 103
What spekest thou, Gamelyn * of lond other of leede ?* 104
Thanne seyde Gamelyn * the child that was ying, 105
< Cristes curs mot he haue * that clepeth me gadelyng !
I am no worse gadelyng * ne no worse wight, 107
But bom of a lady * and geten of a knight.*
The brother dared not approach Gamel3m, but bade his men get staves to beat the
boy, who, when he saw them, all thus armed, draw near, looked round for some means
of defence, and his eye lit on a large pestle standing up against a wall ; this he seized,
and looking like a wild lion he laid round him lustily, and soon had all the men l3nng
in a heap. His brother, not relishing this turn of affairs, fled up into a loft and shut
the door fast. Gamelyn looked everywhere for his brother, and finally espied him
looking out at a window. Then began a parley which ended in the brother's coming
down and making his peace, and promising that all of Gamelyn's inheritance should
be restored, and more too if he wanted it. ' But the knight thoughte on tresown and
Gamelyn on none. And wente and kiste his brother when they were at oon,* t. e, at
one, t. e, reconciled. Alas, young Gamelyn, nothing he wist with what a false treason
his brother him kissed !
70. gyled^ beguiled the young boy. 71. leede , people, serfs. 73. yuel and eek wrothe,
badly, nay abominably. 74. leet his londes for-fare, let his lands go to ruin. 76. 'And
afterwards he paid for it in his fair skin.' We should now say, his recompense fell upon his own
head. 81. yerde, yard, courtyard. 83. vnsawe, unsown. 84. i-drawe, pulled down
to the ground. 85. byreued, stolen. xoa. gadelyng, fellow ; a term of reproach. But
observe that the sarcasm lies in the similarity of the sound of the word to Gamelyn. Hence Game-
lyn's indignant reply. X03. * Thou shalt be glad to get mere food and clothing.' X04. other,
eithei 105. ying, young. 107. wight, man.
THE TALE OF GAMELYN 313
Litheth and lesteneth * and holdeth your tonge 169
And ye schul heere talkyng * of Gamelyn the yonge.
Ther was ther bysiden ' cryed a wrastlyng, 171
And therfor ther was set vp * a ram and a ring;
And Gamelyn was in wille * to wende therto
For to preuen his might * what he cowthe do. 1 74
* Brother,* seyde Gamelyn • * by seynt Richer, 175
Thou most lene me to-nyght * a litel courser 1 76
That is freisch to the spores * on for to ryde ; 177
I most on an erande * a litel her byside/ 1 78
* By god !' seyde his brother • * of steedes in my stalle
Go and chese the the best * and spare non of alle 180
Of steedes or of coursers * that stondcn hem bisyde ;
And tel me, goode brother • whider thou wolt ryde.*
* Her byside, brother • is cryed a wrastlyng,
And therfor schal be set vp * a ram and a ryng ;
Moche worschip it were • brother, to vs alle, 185
Might I the ram and the ryng * bring home to this halle.'
A steede ther was sadeled * smertely and skeet; 187
Gamelyn did a paire spores * fast on his feet.
He sette his foot in the styrop * the steede he bystrood,
And toward the wrastelyng • the ^nge child rood.
Tho Gamelyn the yonge * was riden out at gat, 191
The false knj^^t his brother * lokked it after that,
And bysoughte lesu Crist * that is heuen kyng,
He mighte breke his nekke * in that wrastelyng.
As sone as Gamelyn com * ther the place was, 195
He lighte doun of his steede * and stood on the gras.
And ther he herd a frankeleyn * wayloway synge, 197
And bigan bitterly * his hondes for to wrynge.
< Goode man,' seyde Gamelyn * * why makestow this fare ? 199
Is ther no man that may * ^u helpe out of this care ?*
* Alias !' seyde this frankeleyn • * that euer -was I bore !
For tweye stalworthe sones * I wene that I haue lore ; 202
A champioun is in the place * that hath i-wroi^^t me sorwe, 203
For he hath slayn my two sones * but-if god hem borwe, 204
I would ^ue ten pound * by lesu Crist ! and more.
With the nones I fand a man * to handelen him sore.' 206
' Goode man,* sayde Gamelyn * * wilt theu wel doon, 207
Hold myn hors, whil my man * draweth of my schoon,
171. bysiden t close by. 171. crygd, procUimed. 174. preuen^ test, shew.— —174.
cowthtf could. 175. RichtTf Richard. His name still appears in our Prayer-books.——
176. Utu, loan. 177. sporeMt spurs.— —178. her byside, close by here.— — x8o. chese,
choose. 185. worschip, honour. 187. smertely a$td skeet, K^yAiMcf and swiftly.— 19X,
Tho, when. 195. ther, where. 197. wayloway, wellaway. For Ang. Sax. wd lA wA, lit.
* woe I lo 1 woe I'— —199. makestow, makest thou.— — 199. fare, behaviour. a w a. lore, lost.
903. sorwe, sorrow. 304. but-if, &c., unless God be surety for them, /. #. ensure their
recovery. The two are not slain, but greatly disabled. ao6. With the nones, on the occasion
that, provided that. For the nones, for the occasion, stands (or for then ones, for the once ; so here
with the nones » with then ones, with the once. 907. wilt thorn, &c., if thou wishest to do a
kind deed.
314 APPENDIX
And help my man to kepe ' my clothes and my steede, 209
And I wil into place go ' to loke if I may speede.*
< fiy god V sayde the frankeleyn * * anon it schal be doon ;
I wil my-self be thy man * and drawen of thy schoon,
And wende thou into place * lesu Crist the speede,
And drede not of thy clothes * nor of thy goode steede/ 214
Barfoot and vngert * Gamelyn in cam,
Alle that weren in the place * heede of him they nam, 216
How he durste auntre him * of him to doon his might 217
That was so doughty champioun ' in wrastlyng and in fighL
Vp sterte the champioun * rapely anoon, 219
Toward ^nge Gamelyn * he bigan to goon,
And sayde, * who is thy fader * and who is thy sire ?
For sothe thou art a gret fool * that thou come hire !'
Gamelyn answerde ' the champioun tho,
< Thou knewe wel my fader - whil he couthe go, 224
Whiles he was on lyue • by seint Martyn I
Sir lohan of Boundys was his name * and I Gamelyn.'
< Felaw,' seyde the champioun * * al-so mot I thryue, 227
I knew wel thy fader * whil he was on lyue ;
And thiself, Gamelyn * I wil that thou it heere,
Whil thou were a >^ng boy * a moche schrewe thou were.' 230
Than seyde Gamelyn * and swere by Cristes ore 231
< Now I am older woxe * thou schalt fynde me a more !' 232
< Be god !' sayde the champioun * *• welcome mote thou be I
< G)me thou ones in myn bond * schalt thou neuer the/ 234
The time was night and the moon was shining when the wrestling began. Many
a trick did the champion try on Gamelyn, but in vain. Then said Gamelyn to the
champion : < I have withstood many tricks of thine, now you must try one or two of
mine.' Whereupon, of all his tricks he showed him only one, * and cast him on the
left side, that three ribbes to brak.' And thereto one of his arms that gave a great
crack. Then said the Franklin: 'Blessed be thou, Gamelyn, that ever thou wast
bom,' and being no longer in awe of the champion he scoffed at him for being beaten
by so young a man. But the champion answered that Gameljrn was the master of all,
and that never in his life had he been so roughly handled. And Gamelyn stood
there shirtless, and dared any one to encounter him, satirically remarking that the
champion did not appear to want any more. Not a soul came forward. At last two
gentlemen, the overseers of the games, told Gamelyn to put on his shoes and stock-
ings, for the fair was over. Then said Gamelyn : * So mote I well fare, I have not yet
sold out the half of my ware.' Whereupon the champion grimly spoke up : * He is
a fool that thereof buyeth, thou sellest so dear.' < Fellow,' said the Franklin, < why
dost thou blkme his ware ? what thou boughtest thou hadst too cheap.' Then the
wardens that were of that wrestling came and brought Gamelyn the ram and the ring,
914. dretU not o/^ fear not for. 3x6. warn, took. 2x7. * How he dared adventure him-
telf» to prove his strength upon him that was so doughty a champion?* 8x9. ra^fy mnaon,
quickly in a minute. 2^4. wkil ht couthe go ^ whilst he was able to go about. 337. Ftlaw,
fellow (as a term of reproach). 887. also mot /, as I may. 330. a moche schrewe^ &c.,
thou wast a great doer of mischief. Gamdyn retorts that he is now a more, i. e. a still greater doer
of mischief. 331. ore, grace. 33a. woxe, grown.— — 134. the, thrive.
THE TALE OF GAMELYN 315
and he went, with much joy, home in the morning. His brother saw him coming
with a great rowte, and bade shut the gate, and hold him without. The porter of
his lord was full sore agast, and started at once to the gate, and locked it fast.
[The chief points of resemblance between As You Like It and The Tale of Game-
lyn here cease. In what remains only the name Adam, and Adam's flight with Gam-
elyn to a forest where they find outlaws feasting, can be at all considered common to
both. I have been careful to retain, as far as possible, the phraseology of the original
in the following abstract of the remaining six hundred lines of The Tale, It is of
necessity brief, and gives merely an outline of the story, from which it can be seen
that there are no situations, except possibly the forest-scene, wherein young Gamelyn
could have served in the least as the direct prototype of Orlando.]
When Gamelyn, flushed with victory, returned home with the ram and the ring
and a disorderly crew of friends, he found the gate shut against him. Whereupon
he kicked the gate in, caught the porter, broke his neck, and threw him down a
well. His friends were cordially invited by him to help themselves to meat, and for
drink five tuns of wine were hospitably placed at their disposal. His brother mean-
while lay hid in a * litel toret * of the castle and saw them * wasting his good,' but
< durste he not speke.' This carousal lasted for eight days, then the guests took their
leave, and when they had * riden and i-goon« Gamelyn stood allone, friends had he
noon.' His brother ventured then from his hiding-place, which he had i4;>parently
changed, though we are not told why, fix)m the * toret ' to the * selleer.' The treach-
erous knight forgave Gamelyn, and even went so far as to tell him that because * of
my body, brother, heir geten have I noon, I will make thee mine heir, I swear by
St Johan.' Gamelyn was, of course, very grateful, but nothing wist of his brother's
guile. Under the plea of an oath which he had made when from his hiding-place he
had seen Gamelyn throw the porter down the well, the brother persuaded Gamelyn
to be bound hand and foot, merely out of formality, that his oath should not be
broken. But as soon as he was bound and securely fettered, his brother told every-
body that Gamelyn was mad. For two days and two nights, without meat or drink,
was the young fellow fastened to a post. Then he appealed privately to Adam, who
was the spencer, or officer of the household who dispensed the provisions, to succour
him, which Adam, the spencer, did, with food and drink. It was then agreed
between them that Adam should unlock Gamelyn*s fetters, and when the feasting and
revelry was at its height, with all the Abbots and Priors, on Sunday, Gamelyn should
make an appeal to all the men of holy Church for help, and if they refused he should
break forth, and he with a good staff, and Adam with another, fight for freedom. And
it so befell, the men of holy Church banned him instead of blessing him, whereupon
he cast away his fetters and began to work, and with such good effect that there was
none of them all that with his staff met but he made him overthrow, and quit them
his debt. * Gamelyn,' said Adam, < do them but good ; they are men of holy church,
draw of them no blood, take heed of the tonsure, and do them no harms, but break
both their legs, and after that their arms.' This provident advice was followed until
at last Gamelyn got at his brother ; him he struck in the neck, and also a little above
the girdle, and bruised his backbone, and set him in the fetters. The sheriff was
summoned by those who escaped, and when Gamelyn saw him and his posse approach
he fled with Adam, so that when the sheriff got to the castle he found a nest, but no
egg ; however, he found the brother fettered, and anone sent for a doctor to heal his
backbone.
Gamelyn and Adam meanwhile marched steadily into the wood ; but the latter
3i6 APPENDIX
took it ill, and at last said : * I see now that it is better to be a spencer. It is far
* preferable keys for to bear than to walk in this wild wood my clothes for to tear.*
< Adam/ said Gamelyn, *■ dismay thee right nought ; many a good man's child into
< care is i-brought.' And as they were walking together they heard talking of men
near by. Then Gamelyn under the wood looked aright, and seven score of young
men he saw well a-dight, that is, accoutred ; all sat at meat in a circle about. * Adam,'
said Gamelyn, *■ now have we no doubt, after ill cometh good, through grace of God
' almight ; me thinketh of meat and drink that I have a sight.' Adam looked then
under wood-bough, and when he saw meat he was glad enow ; for he hoped to God
to have his share or deel, and he was sore alonged after a good meal. The master
outlaw, after finding out who they were, bade them sit there adown for to take rest,
and bade them eat and drink, and that of the best. In the cow-se of time Gamelyu
rose to be king of the outlaws. Meanwhile his false brother had risen to be sheriff,
and caused Gamelyn to be proscribed as an outlaw and summoned to appear at the
next sessions. 'Alas,' said Gamel3m, * that ever I was so slack As not to break his
' neck, though I did break his back.' However, Gamelyn was thrust in prison. His
brother Ote now appeared, and became surety for Gamelyn's appearance on the next
court day. On that day Gamelyn entered the court with a band of his merry men,
and finding that his false brother had suborned a jury to condemn to death his brother
Ote, as a forfeit for his absence, he seized the Judge, the sheriff (his brother), and
the jury, and hanged them all. This act of summary justice seemed somehow to
strike the king very favourably, for he not only made Ote a Justice, but Gamelyn a
Chief Justice. The latter thus recovered his land and his serfs ; brother Ote made
him his heir, and Gamelyn wedded a wife both good and fair. And they lived
together, while that Crist wold, Until Gamelyn was buried under the mold. And so
shall we all ; that none may flee : God bring us to the joy, that ever shall be.
LODGE'S ROSALYNDE
The Text oi Rosalynde here given is fix)m a copy issued by the Hvnterian
Club, and placed, with alacrity, at my disposal by my kind friend, Mr Alexander
Smith, of Glasgow. In the Fifth Annual Report^ 1878, of this excellent Club, that
has done, and is still doing, such fine work in its especial field, this issue of Lodge's
Novel v& thus spoken of: 'In regard to '< Rosalynde," it may be noted that the first
edition, 1590, has never until now been reprinted. For ^e use of the unique original
(unfortunately imperfect) in the Britwell library, the Club is indebted to the kindness
« of Mr S. Christie-Miller. The deficiency (Sig. R, 4 leaves) has been supplied irom
*the second edition, 1592, in the collection of Mr Henry Huth.* ^
Marginal references are placed opposite those passages only which have been
specifically mentioned by critics in the preceding Commentary on the Play.
The Novel is so long, and demands so many pages, that I have compressed its
form, not its substance, in all possible ways, running into the text when practicable
lines of poetry, titles of chapters, &c., &c., which in the original stand out in the
page with generous margins. For the same reason I have not followed the original
in printing every name in small capitals. Be it remembered, therefore, that the sub-
stance alone is here reproduced ; the form is quite disregarded.
LODGES ROSALYNDE 317
RosALYNDE. || EuPHUES GOLDEN LE- || gacie / found after his death || in his Cell at
Si' II lexedra. || Beqtuathed to Philautus fonnes || nourfed vp with their || father in
Eng- II land. || Fetcht from the Canaries. || By T. L. Gent. || London, || Imprinted
by Thomas Orwin for T, G. || zxi^ John Busbie. || 1590. ||
To THE RIGHT HO- || nourablc and his moft eileemed || Lord the Lord of Hun/don,
Lord II Chamberlaine of her MaiefUes || houfholdy and Gouemor of her || Towne
of Barwicke : || T, L. G, wifheth increafe || of all honourable ver- || tues. ||
SVch Romanes (right Honourable") as delighted in martiall exploytes^ attempted
their anions in the honour <?/' Auguftus, becaufe he was a Patron offouldiers : and
Virgil dignified him with his poems ^ as a Moecenas offchollers', both ioyntly aduaun-
cing his royalties as a Prince warlike and learned. Such asfacrifice to Pallas, pre-
fent her with bayes as fhe is wife^ and with armour as fhe is valiant \ obferuing
herein that excellent to irpeirov which dedicateth honours according to the perfeiflion
of the perfon. When J entred (right honourable) with a deep infight into the con-
fideration of thefe premiffes, feeing your L. to be a Patron of all martiall men^ and
a Moecenas offuch as applie themfelues toJiudie\ wearing with Pallas both the launce
and the bay^ and ayming with Auguftus at thefauour of ally by the honourable vertues
of your minde : being my f elf e first a Student^ and after falling from bookes to armeSy
euen vowed in all my thoughts dutifully to affect your L. Hauing with Capt : Clarke
made a voyage to the Jlands of Terceras <Sr* the Canaries, to beguile the time with
labour y J writ this booke ; roughy as hatcht in theflormes of the Ocean^ and feathered
in the f urges of many perillous feas. But as it is the worke of a fouldier and a
fchollery J prefumed to fhrowde it vnder your Honors patronage^ as one that is the
fautor and fauourer of all vertuous adlions\ and whofe honourable Loues growen
from the generall applaufe of the whole Common wealth for your higher deferts, may
keep it frd the mallice of euery bitter tung. Other reafons more particular [right
Honorable) chalenge in me a fpeciall affe^ion to your L. as being a fcholler with
your two noble fonneSy Master Edmond Carew 6r» M. Robert Carew, (two fiens
worihie of fo honorable a treey and a tree glorious in fuch honourable fntite) as alfo
being fcholler in the Vniuerfitie vnder that learned and vertuous Knight Sir Edward
Hobbie, when he was Batcheler in ArtSy a mil as well lettered as well bomCy and after
the Etymologic of his name f oaring as high as the wings of knowledge can mount
himy happie euerie way, &* the more fortunate y as bleffed in the honor of fo vertuous
a Ladie. Thus (right honourable) the duetie that J owe to the fotmeSy chargeth me
that all my affection be placed on the father % for where the braunches are fo precious ^
the tree of force must be most excellent. Commaunded and emboldened thus with the
conftderation of thefe forepaffed reafons y to prefent my Booke to your Lordfhip'y I
humbly intreatCy your Honour will vouch of my labourSy and fauour a fouldiers and
a fchollers pen with your gracious acceptance ; who anfweres in affection what he
wants in eloquence \ fo deuoted to your Honoury as his onely defire isy to end his life
vnder the fauour offo martiall and learned a Patron.
Resting thus in hope of your Lordfhips courtefiey in deyning the Patronage of my
ivorkcyjceafe : wijhing you as many honourable fortunes as your Lord/hip can defire^
or /imagine.
Your Honours fotddier
humbly affe^ionate :
Thomas Lodge.
3ia APPENDIX
To the Gentlemen Readers,
GEntlemen, look not here to find anie fprigs of Pallas bay tree, nor to heare the
humour of any amorous Lawreate, nor the pleafing vaine of anie eloquent Orator : Nolo
altum fapere^ they be matters aboue my capacitie ; the Coblers checke (hall neuer light
on my head, Ne futor vltra crepidam^ I will goe no further than the latchet, and
then all is well. Heere you may perhaps find fom leaues of Venus mir-
tle, but heawen down by a fouldier with his curtleaxe, not bought with I, iii, 124
the allurement of a 61ed tongue. To be briefe Gentlemen, roome for a
fouldier, & a failer, that giues you the fruits of his labors that he wrought in the
Oceany when euerie line was wet with a furge, & euerie humorous pafsion counter-
checkt with a ilorme. If ^ou like it, fo : and yet I will be yours in duetie, if you bee
mine in fauour. But if Momus or anie fquint-eied affe that hath mightie eares to con-
ceiue with AfidaSj and yet little reafon to iudge ; if hee come aboord our Barke to
find fault with the tackling, when he knows not the (hrowdes. He downe into the
hold, and fetch out a rudie pollax, that fawe no funne this feauen yeare, and either
well be bad him, or heaue the cockfcombe ouer boord to feede cods. But courteous
Gentlemen that fauour mofl, backbite none, & pardon what is ouerslipt, let fuch come
& welcome. He into the Stewards roome, & fetch them a kan of our beft beuradge.
Well Gentlemen, you haue Euphues Legacie. I fetcht it as farre as the Hands of
TerceraSf and therefore read it ; cenfure with fauour, and farewell.
Yours T.L,
Rofalynd.
THere dwelled adioyning to the citie of Bourdeaux a Knight of mofl honorable
parentage, whom Fortune had graced with manie fauours, and Nature honored with
fundrie exquifite qualities, fo beautified with the excellence of both, as it was a
queflion whether Fortune or Nature were more prodigall in deciphering the riches of
their bounties. Wife hee was, as holding in his head a fupreme conceipt of policie,
reaching with Nestor into the depth of all ciuill gouemment ; and to make his wife-
dome more gracious, he had that falem ingenij and pleafant eloquence that was fo
highlie commended in Vlisses : his valour was no lefTe than his wit, nor the (Iroake
of his Launce no lefTe forcible, than the fweetnelTe of his tongue was perfwafiue : for
he was for his courage chofen the principall of all the Knights of Malta, This bardie
Knight thus enricht with Vertue and Honour, fumamed Sir lohn of Bourdeaux^ han-
ing pafTed the prime of his youth in fundrie battailes againfl the TurkeSj at lafl (as the
date of time hath his courfe) grew aged : his haires were filuer hued, and the map of
age was figured on his forehead : Honour fat in the furrowes of his face, and many
yeres were pourtraied in his wrinckled liniaments, that all men might perceiue his
glade was runne, and that Nature of necefTity chalenged her due. Sir lohn (that
with the Fhenix knewe the tearme of his life was now expyred, and could with the
Swanne difcouer his end by her fongs) hauing three fonnes by his wife Lynida, the
verie pride of all his forepaifed yeres, thought now (feeing death by conflraint would
compel! him to leaue them) to bedowe ypon them fuch a Legacie as might bewray
his loue, and increafe their enfuing amitie. Calling therefore thefe yong Gentlemen
before him in the prcfence of all his fellowe Knights of Malta, he refoWed to leaue
them a memoriall of his fatherlie care, in fetting downe a methode of their brotherlie
dueties. Hauing therefore death in his lookes to mooue them to pitie, and teares in his
eyes to paint out the depth of his pafTions, taking his elded fonne by the hand, hee began
thus. Sir lohn of Bourdeaux Legacie he gaue to his Sonnes.
LODGES ROSALYNDE 319
Oh my Sonnes, yon fee that Fate hath fet a period of my yeares, and DeiliDies haue
detennined the finall ende of my daies : the Palme tree waxeth away ward, for he
Aoopeth in his height, and my plumes are full of ficke feathers touched with age. I
mud to my graue that difchargeth all cares, and leaae you to the world that encreafeth
many forowes : my filuer haires conteineth great experience, and in the number ol
my yeares are pend downe the fubtilties of Fortune. Therefore as I leaue you fome
fading pelfe to counterchecke pouertie, fo I will bequeath you infallible precepts that
(hall leade yon vnto vertue. Firft therefore vnto thee Saladyne the elded, and there-
fore the chiefefl piller of my houfe, wherein (hould be ingrauen as well the excellence
of thy fathers qualities, as the eHentiall forme of his proportion, to thee I giue foure-
teene ploughlands, with all my Mannor houfes and richefl plate. Next vnto Feman-
dyne I bequeath twelue ploughlands. But vnto Rosader the yongeft I giue my Horfe,
My Armour and my Launce, with fixteene ploughlands : for if the inward thoughts
be difcouered by outward (hadowes, Rosader will exceed yon all in bountie and hon«
our. Thus (my Sonnes) haue I parted in your portions the fubftance of my wealth,
wherein if you bee as prodigall to fpend, as I haue been carefull to get, your friends
will grieue to fee you more wadfull than I was bountifull, and your foes fmile that my
fall did begin in your exceffe. Let mine honour be the glade of your a<5lions, and
the fame of my vertues the Loadftarre to dire^ the courfe of your pilgrimage. Ayme
your deedes by my honorable endeuours, and (hewe your felues fiens worthie of fo
florifliing a tree : lead as the birds Halcyones which exceede in whitenefTe, I hatch
yong ones that furpaffe in blacknelTe. Qimbe not my fonnes; afpiring pride is a
vapour that afcendeth hie, but foone tumeth to a fmoake : they which dare at the
Starres, dumble vppon dones ; and fuch as gaze at the Sunne (vnleflfe they bee Eagle
eyed) fall blinde. Soare not with the Hobbie, lead you fall with the Larke ; nor
attempt not with Phaeton, lead you drowne with Icarus. Fortune when (he wils you
to flie, tempers your plumes with waxe, and therefore either fit dill and make no
wing, or els beware the Sunne, and holde Dedalus axiome authenticall {medium
tenere ttUiffimum), Low (hrubbes haue deepe rootes, and poore Cottages great
patience. Fortune lookes euer vpward, and enuie afpireth to nedle with dignitie.
Take heede my fonnes, the meane is fweeted melodic ; where drings high dretcht,
either foone cracke, or quicklie growe out of tune. Let your G)untries care be your
hearts content, and thinke that you are not borne for your felues, but to leuell yoTU*
thoughts to be loyall to your Prince, careful for the G>mmon weale, and faithfull to
your friends ; fo (hall France fay, thefe men are as excellent in vertues, as they be
exquifite in features. Oh my fonnes, a friend is a precious lewell, within whofe
bofome you may vnloade your forowes and vnfolde your fecretes, and hee either will
releeue with counfaile, or perfwade with reafon : but take heede in the choyce, the
outward (hew makes not the inward man, nor are the dimples in the face the Calen-
ders of trueth. When the Liquorice leafe looketh mod drie, then it is mod wet.
When the (hoares of Lepanthus are mod quiet, then they forepoint a dorme. The
Baaran leafe the more faire it lookes, the more infe(flious it is, and in the fweeted
words is od hid the mod trecherie. Therefore my fonnes, choofe a friend as the
Hiperborei do the mettals, feuer them from the ore with fire, & let them not bide the
damp before they be currant ; fo trie and then trud, let time be touchdone of friend-
(hip, & then friends faithfull lay them vp for lewells. Be valiant my fonnes, for cow-
ardife is the enemie to honour ; but not too ra(h, fop that is an extreame. Fortitude
is the meane, and that is limitted within bonds, and prefcribed with circumdance.
But aboue all, and with that he fetcht a deepe figfa, beware of Loue, for it is farre
320 APPENDIX
more perilous than pleafant, and yet I tell you it alloreth as ill as the Syrens. Oh
my fonnes, fancie is a fickle thing, and beauties paintings are trickt vp with times
colours, which being fet to drie in the Sunne, perilh with the fame. Venus is a wan-
ton, & though her lawes pretend libertie, yet there is nothing but loffe and gliflering
miferie. Cupids wings are plumed with the feathers of vanitie, and his arrowes
where they pearce, inforce nothing but deadly defires : a womans eye as it is precious
to behold, fo it is preiudiciall to gaze vpon ; for as it affoordeth delight, fo it fnareth
vnto death. Tnift not their fawning fauours, for their loues are like the breath of a
man vpon fleele, which no fooner lighteth on but it leapeth of, and their paflions are
as momentarie as the colours of a Polipe, which changeth at the fight of euerie obie<5l.
My breath waxeth fhort and mine eyes 'dimme, the houre is come and I mud away :
therefore let this fuffice, women are wantons, and yet men cannot want one : and
therefore if you loue, choofe her that hath her eyes of Adamant, that will tume only
to one poynt ; her heart of a Diamond, that will receiue but one forme ; her tongue
of a Sethin leafe, that neuer wagges but with a Southeafl winde : and yet my fonnes,
if (he haue all thefe qualities, to be chad, obedient, and filent ; yet for that die is a
woman, dialt thou finde in her fufficient vanities to counteruaile her uertues. Oh now
my fonnes, euen now take thefe my lad words as my lated Legacie, for my thrid is
fponne, and my foote is in the graue : keepe my precepts as memorialls of your fathers
counfailes, and let them bee lodged in the fccrete of your hearts ; for wifedome is
better than wealth, and a golden fentence worth a world of treafure. In my fall fee
& marke my fonnes the foUie of man, that being dud climbeth with Biares to reach at
the Heauens, and readie euerie minute to dye, yet hopeth for an age of pleafures.
Oh mans life is like lightning that is but a flafh, and the longed date of his yeares
but as a bauens blaze. Seeing then man is fo mortall, bee carefuU that thy life bee
vertuous, that thy death may be full of admirable honours ; so dialt thou challenge
fame to bee thy fautor, and put obliuion to exile with thine honorable a(flions. But
my Sonnes, lead you (hould forget your fathers axiomes, take this fcroule, wherein
reade what your father dying, wils you to execute lining. At this hee dirunke downe
in his bed and gaue vp the ghod.
lohn of Bourdeaux being thus dead, was greatlie lamented of his Sonnes and
bewayled of his friends, efpeciallie of his fellowe Knights of Maltay who attended
on his Funeralls, which were performed with great folemnitie. His Obfequies done,
Saladyne caufed next his Epitaph the contents of the fcroule to be pourtraied out,
which were to this effe(5L
The contents of the fcedule which Sir lohn of Bourdeaux gaue to his Sonnes.
MY SontuSy behold what portion J doo giue ;
I Uaue you goodSf but they are quicklie lost;
J leaue aduice^ to/choole you how to Hue;
I leaue you wity but wonne with little cost :
But keepe it well\ for counfaile flill is one^
When Father y friends y and worldlie goods are gone.
In choice of thrift let honour be thy gaine,
IVinne it by vertue and by manly might;
In dooing good esieeme thy toyle no paine,
Prote/l the fatherleffe and widowes right:
Fight for thy faith y thy Countrie and thy King,
For why f this thrift will prooue a blefsed thing.
LODGES ROSALYNDE 321
In choice of wifcy preferre the modeft cha/l,
Liiiies are f aire injhewj but fouU infmell\
Thefweetejl lookes by age arefoone defaft :
Then choofe thy wife by wit and lining well.
Who brings thee wealth and many faults withally
Prefents th^e honie^ mixt with bitter gall.
In choice of friends , beware of light belief e^
A painted tongue mayfhroud afubtill heart \
The Sjrrens teares doo threaten mickle grief e^
Forefee my fonne, for feare of fodaine fmart :
Chufe in thy wants : and he that friends thee then,
IVhen richer growne J befriend him thou agen,
Leame of the Ant infommer to prouide\
Driue with the Bee the Droane from out thy hiue;
BuUde like the Swallowe in thefommer tide\
Spare not too much (myfonne) but f paring thriue :
Be poor e infollie, rich in allbutfinne:
So by thy death thy gloritJhaU beginne.
Saladine hauing thus fet vp the Scedule, and hangd about his Fathers hearfe many
pafllonate Poems, that France might fuppofe him to be pafTmg forrowfuU, he clad him-
felfe and his Brothers all in black, & in fuch fable futes difcourfed his griefe : but as
the Hiena when Ihe moumes is then moil guilefull, fo Saladine vnder this (hew of
griefe (hadowed a heart full of contented thoughtes : the T3rger though hee hide his
clawes, will at lad difcouer his rapine : the Lions lookes are not the mappes of his
meaning, nor a mans phifnomie is not the difplay of his fecrets. Fire cannot bee hid
in the draw, nor the nature of man fo concealed, but at lad it will haue his courfe :
nourture and art may doo much, but that Natura naturaus which by propagation is
ingrafted in the heart, will be at lad perforce predominant according to the olde verfe.
Naturam expellas furca licet, tamen vfque recurret. So fared it with Saladyne, for
after a months mourning was pad, he fell to confideration of his Fathers tedament,
how he had bequeathed more to his younger brothers than himfelfe, that Rosader was
his Fathers darling, but now vnder his tuition, that as yet they were not come to yeres,
& he being their gardin, might (if not defraud them of their due) yet make fuch
hauock of their legacies and lands, as they fhould be a great deale the lighter:
whereupon hee began thus to meditate with himfelfe. S aladynes meditation
with himfelfe . Saladyne, how art thou difquieted in thy thoughts, & perplexed
with a world of redleflfe paflions, hauing thy minde troubled with the tenour of thy
Fathers tedament, and thy heart fiered with the hope of prefent preferment 9 by the
one, thou art counfaild to content thee with thy fortunes ; by the other, perfwaded to
afpire to higher wealth. Riches (Salad3me) is a great royalty, & there is no fweeter
phifick th& dore. Auicen like a foole forgot in his Aphorifmes to fay, that golde was
the mod precious redoratiue, and that treafure was the mod excellent medecine of the
minde. Oh Saladyne, what were thy Fathers precepts breathed into the winde ? had
thou fo foone forgotte his principles f did he not wame thee from coueting without
honor, and climing without vertue ^ did hee not forbid thee to aime at any adtion that
fhould not be honourable ^ and what will bee more preiudiciall to thy credit, than the
careleffe mine of thy brothers welfare ? why fhouldd not thou bee the piller of thy
brothers profperitie ; and wilt thou become the fubuerfion of their fortunes f is there
21
322 APPENDIX
any Tweeter thing than concord, or a more precious lewel then amity ? are you not
fons of one Father, fiens of one tree, birds of one nefl ^ and wilt thou become fo
vnnaturall as to rob them, whome thou Ihouldil relieue ^ No Saladync, intreate them
with fauours, and intertaine them with loue ; fo (halt thou haue thy conscience cleare
and thy renowne excellent. Tufli, what words are thefe bafe foole ; farre vnfit (if
thou be wife) for thy humour. What though thy Father at his death talked of many
friuolous matters, as one that doated for age, and raued in his ficknelTe : (hal his words
be axioms, and his talke be fo authenticall, that thou wilt (to obferue them) preiudice
thy felfe ^ No no Saladyne, fick mens wills that are parole, and haue neither hand
nor feale, are like the lawes of a Citie written in dufl ; which are broken with the
blafl of euerie winde. What man thy Father is dead, and hee can neither helpe thy
fortunes, nor meafure thy a(fHons : therefore burie his words with his carkaiTe, and
bee wife for thy felfe. What, tis not fo olde as true ; Non fapity qui fibi non fapit.
Thy Brother is young, keepe him now in awe, make him not check mate with thy
felfe : for Nimia familiarit as contemptum parit. Let him knowe little, fo (hall he
not be able to execute much ; fuppre(re his wittes with a bafe edate, and though hee
be a Gentleman by nature yet forme him a new, and make him a peafant by nourture :
fo (halt thou keepe him as a (laue, and raign thy felfe fole Lord ouer al thy Fathers
po(re(Iions. As for Femandyne thy middle brother he is a fcholer, and hath no minde
but on Aristotle, let him reade on Galen while thou rifled with gold, and pore on his
booke til thou dood purchafe lands : wit is great wealth, if hee haue learning it is
enough; and fo let all red.
In this humour was Saladyne making his brother Rosader his foote boy, for the
fpace of two or three yeares, keeping him in fuch feruile fubie<5Uon, as if hee had
been the fonne of any countrie vafTall. The yong Gentleman bare al with patience,
til on a day walking in the garde by himfelf, he began to confider how he was the fon
of lohn of BourdeauXf a knight renowmed for many vi(5lories, & a Gentlemft famozed
for his vertues, how contrarie to the tedament of his father, he was not only kept from
his land, and intreated as a feruant, but fmothered in fuch fccret (lauerie, as he might
not attaine to any honourable a(5tions. Ah quoth he to himfelfe (nature working thefe
effe6hiall pa(rions) why (hould I that am a Gentleman borne, paffe my time in fuch
ynnaturall drudgerie / were it not better either in Paris to become a fcholler, or in
the court a courtier, or in the 6eld a fouldier, than to liue a foote boy to my own
brother : nature hath lent me wit to cOceiue, but my brother denied me arte to con-
template: I haue drength to perfonne any honorable exployte, but no libertie to
accompli(h my vertuous indeuours : thofe good partes that God hath bedowed vpon
me, the enuie of my brother dooth fmother in obfcuritie : the harder is my fortune,
and the more his frowardnelTe. With that cading vp his hand he felt hidre on his
face, and perceiuing his beard to bud, for choler hee began to blu(h, and fwore to him-
felfe he would bee no more fubiedl to fuch (lauerie. As thus he was ruminating of
his melancholic pa(rions, in came Salad3me with his men, and feeing his
brother in a browne dudie, and to forget his wonted reuerence, thought to I, i, 5a
(hake him out of his dumps thus. Sirha (quoth hee) what is your heart
on your halfe penie, or are you faying a Dirge for your fathers soule ? what is my
dinner readie ^ At this quedion Rosader turning his head afcance, and bending his
browes as if anger there had ploughed the furrowes of her wrath, with his eyes full
of fire, he made this replie. Doed thou af ke me (Saladyne) for thy Gates ^ afke
fome of thy Ghurles who are fit for fuch an office : I am thine equall by nature, thougji
not by birth ; and though thou had more Gardes in the bunch, I haue as many trumpt
LODGES ROSALYNDE 323
in my hands as thy felfe. Let me quedion with thee, why thon haft feld my Woods,
fpoyled my Manner houfes, and made hauock of fuch vtenfals as my father be-
queathed vnto me 9 I tell thee Saladyne, either anfwere me as a brother, or I will
trouble thee as an enemie.
At this replie of Rosaders, Salad3me fmiled as laughing at his prefumption, &
frowned as checking his foUie : hee therefore tooke him vp thus (hortlie. What Hrha,
well I fee earlie prickes the tree that will prooue a thome : hath my familiar conuerfmg
with you made you coy, or my good lookes drawne jrou to be thus contemptuous S
I can quickly remedie fuch a fault, and I will bende the tree while it is
a wand : In faith (fir boy) I haue a (baffle for fuch a headftrOg colt. You If i» 53
firs lay holde on him and binde him, and then I will giue him a cooling
carde for his choUer. This made Rosader halfe mad, that ilepping to a great rake '
that flood in the garden, he laide fuch loade vpon his brothers men that he hurt fome
of them, and made the reft of them run away. Saladyne feeing Rosader fo refolute,
and with his refolution fo valiant, thought his heeles his beft fafede, and tooke him
to a loaft adioyning to the garden, whether Rosader purfued him hotlie. Saladyno
afraide of his brothers furie, cried out to him thus. Rosader bee not ib rafli, I am
thy brother and thine elder, and if I haue done thee wrong He make thee amends :
reuenge not anger in bloud, for fo (halt thou ftaine the vertue of olde Sir lohn of
Bourdeaux : fay wherein thou art difcontent and thou (halt be fatiftied. Brothers
frownes ought not to be periods of wrath : what man looke not fo fowerlie, I knowe
we (hall be friends, and Detter friends than we have been. For, Aman/ium ira
antoris redini egratio eft.
Thefe wordes appeafed the choUer of Rosader, (for hee was of a milde and cour-
teous nature) fo that he laide downe his weapons, and vpon the faith of a Gentleman
a(rured his brother he would offer him no preiudice: wherevpon Saladyne came
downe, and after a little parley they imbraced each other and became frends, and
Saladyne promifmg Rosader the reftitution of al his lands, and what fauour eb
(quoth he) any waies my abilitie or the natiu-e of a brother may performe. Vpon
thefe fugred recOciliations they went into the houfe arme in arme together, to the
great content of all the old feruants of Sir lohn of Bourdeaux. Thus continued the
pad hidden in the ftrawe, till it chaunced that Torismond King of France had
appo3mted for his pleafure a day of Wraftling and of Tournament to bufie his G)m-
mons heads, leaft being idle their thoughts (hould runne vpon more ferious matters,
and call to remembrance their old banifhed King ; a Champion there was to (land
againft all commers a Norman, a man of tall ftature and of great ftrength ; fo valiant,
that in many fuch confti(5ls he alwaies bare away the vi<5lorie, not onely ouerthrowing
them which he incountred, but often with the weight of his bodie killing them out-
right. Saladyne hearing of this, thinking now not to let the ball fall to the ground,
but to take oportunitie by the forehead : firft by fecret meanes conuented with the
Norman, and procured him with rich rewards to fweare, that if Rosader came within
his clawes he (hould neuer more retume to quarrell with Saladyne for his pofleffions.
The Norman defirous of pelfe, as ( Quis nifi mentis mo^s oblahtm refpuU aurwn^
taking great gifU for little Gods, tooke the crownes of Saladjme to performe the
ftratagem. Hauing thus the Champion tied to his vilanous determination by oath,
he profecuted the intent of his purpofe thus. Hee went to young Rosader, (who in
all his thoughts reacht at honour, and gazed no lower than vertue commaunded him)
and began to tell him of this Tournament and Wraftling, how the King fhould be
there, and all the chiefe Peeres of France^ with all the beaatifiill damofels of the
324 APPENDIX
Countrey: now brother (quoth he) for the honor of Sir lohn of Bourdeaux our
rcnowmed father, to famous that houfe that neuer hath been found without men
approoued in Cheuahie, fhewe thy refolution to be peremptorie. For my felfe thou
knowefl though I am eldefl by birth, yet neuer hauing attempted any deedes
of Armes, I am yongeft to performe any Martiall exploytes, knowing better I, i, 54
how to furuey my lands, than to charge my Launce : my brother Femandyne
he is at Paris poring on a fewe papers, hauing more infight into Sophiilrie and prin-
ciples of Philofophie, than any warlike indeuours : but thou Rosader the youngefl in
yeares, but the eldefl in valour, art a man of ilrength and dared doo what honour
allowes thee ; take thou my fathers Launce, his Sword, and his Horfe, and hie thee
to the Tournament, and either there valiantlie crack a fpeare, or trie with the Nor-
man for the palme of actiuitie. The words of Saladyne were but fpurres to a free
horfe ; for hee had fcarce vttered them, ere Rosader tooke him in his armes, taking
his proffer fo kindly, that he promifed in what he might to requite his courtefie. The
next morowe was the day of the Tournament, and Rosader was fo defirous to (hew
his heroycall thoughts, that he pail the night with little fleepe : but affoone as Phoebus
had vailed the Curteine of the night, and made Aurora blufh with giuing her the
benoles labres in her filuer G)uch, he gat him vp ; and taking his leaue of his brother,
mounted himfelfe towards the place appoynted, thinking euery mile ten leagues till
he came there. But leaning him fo defirous of the ioumey : to Torismond Jthe King
of FrancCy who hauing by force baniflied Gerismond their lawfull King that lined as
an outlaw in the Forrefl of Arden^ fought now by all meanes to keepe the French
bufied with all fportes that might breed their content. Amongil the red he had
appointed this folemne Tournament, whereunto he in mod folemne manner reforted,
accompanied with the twelue Peeres of France^ who rather for feare than loue graced
him with the (hewe of their dutifuU fauours : to feede their eyes, and to make the
beholders pleafed with the fight of mod rare and glidring obie(5ls, he had appoynted
his owne daughter Alinda to be there, & the faire Rosalynd daughter vnto Gerismond,
with all the beautifull damofels that were famous for their features in all France.
Thus in that place did Loue and Warre triumph in a fimpathie : for fuch as were
Martiall, might vfe their Launce to bee renowmed for the excellence of their
Cheualrie; and fuch as were amorous, might glut themfelues with gazing on the
beauties of mod heauenly creatures. As euerie mans eye had his feuerall furuey,
and fancie was partiall in their lookes, yet all in generall applauded the admirable
riches that Nature bedowed on the face of Rosalynd : for vppon her cheekes there
feemed a battaile betweene the Graces, who ftiould bedow mod fauours to make her
excellent. The blufh that gloried Luna when (he kid the (hepheard on the hills of
Latmos was not tainted with fuch a pleafant dye, as the Vermilion flouri(ht on the
filuer hue of Rosal3mds countenance ; her eyes were like thofe lampes that make the
wealthie couert of the Heauens more gorgeous, fparkling fauour and difdaine ; cour-
teous and yet coye, as if in them Venus had placed all her amorets, and Diana all
her chaditie. The tramells of her hayre, foulded in a call of golde, fo farre furpaft
the bumi(ht glider of the mettall, as the Sunne dooth the meaned Starre in bright-
neffe : the treffes that foldes in the browes of Apollo were not halfe fo rich to the
fight ; for in her haires it feemed loue had laide her felfe in ambu(h, to intrappe the
prouded eye that durd gafe vppon their excellence : what (hould I neede to decipher
her particular beauties, when by the cenfure of all (he was the paragon of all earthly
perfedlion. This Rosalynd fat I fay with Alinda as a beholder of thefe fportes, and
made the Caualiers crack their lances with more courage : many deeds of Knight-
LODGES ROSALYNDE 325
hoode that day were perfonned, and many prizes were giuen according to their
feuerall deferts : at laft when the tournament ceafed, the wraflling began ; and the
Norman prefented himfelfe as a chalenger againfl all commers ; but he looked like
Hercules when he aduaund himfelfe againd AcheloUs ; fo that the furie of his coun-
tenance amafed all that durfl attempt to incounter with him in any dcede of actiuitie :
till at lafl a luflie Francklin of the Countne came with two tall men that were his
Sonnes of good lyniaments and comely perfonage : the elded of thefe dooing his
obeyfance to the King entered the 1yd, and prefented himfelfe to the Norman, who
draight coapt with him, and as a man that would triumph in the glorie of his drength,
roufed himfelfe with fuch furie, that not onely hee gaue him the fall, but killed liim
with the weight of his corpulent perfonage : which the younger brother feeing, lept
prefently into the place, and thirdie after the reuenge, affayled the Norman with fuch
valour, that at the fird incounter hee brought him to his knees : which repuld fo the
Norman, that recouering himfelfe, feare of difgrace doubling his drength, hee dept
fo dcamely to the young Francklin, that taking him vp in his armes he threw him
againd the ground fo violently, that he broake his neck, and fo ended his dayes with
his brother. At this vnlookt for maffacre, the people murmured, and were all in a
deepe paffion of pittie; but the Francklin, Father vnto thefe, neuer changed his
countenance; but as a mft of a couragious refolution, tooke yp the bodies of his
Sonnes without any (hew of outward difcontent. All this while doode Kosader and
fawe this tragedie: who noting the vndoubted vertue of the Francklins minde,
alighted of from his horfe, and prefentlie fat downe on the graflfe, and commaunded
his boy to pull off his bootes, making him readie to trie the drength of this Cham-
pion; being dimifhed as he would, hee clapt the Francklin on the (boulder and
faide thus. Bolde yeoman whofe fonnes haue ended the tearme of their yeares with
honour, for that I fee thou fcomed fortune with patience, and twharted the iniurie
of fate with content, in brooking the death of thy Sonnes : dand a while and either
fee mee make a third in their tragedie, or elfe reuenge their fall with an honourable
triumph ; the Francklin feeing fo goodlie a Gentleman to giue him fuch courteous
comfort, gaue him hartie thankes, with promife to pray for his happis fucceffe. With
that Rosader vailed bonnet to the King, and lightlie lept within the lids, where
noting more the companie than the combatant, hee cad his eye vpon the troupe of
Ladies that glidered there like the darres of heauen, but at lad Loue willing to make
him as amourous as he was valiant, prefented him with the fight of Rosalynd, whofe
admirable beautie fo inueagled the eye of Rosader, that forgetting himfelfe, he doode
and fed his lookes on the fauour of Rosalynds face, which die perceiuing, blufht :
which was fuch a doubling of her beauteous excellence, that the bafhfuU red of
Aurora at the fight of vnacquainted Phaeton was not halfe fo glorious : The Norman
feeing this young Gentleman fettered in the lookes of the Ladies, draue him out of his
memento with a (hake by the dioulder ; Rosader looking back with an angrie frowne,
as if he had been wakened from fome pleafant dreame, difcouered to all by the furie
of his countenance that he was a man of fome high thoughts : but when they all
noted his youth, and the fweeteneflfe of his vifage, with a generall applaufe of fauours,
they grieucd that fo goodly a young man (hould venture in fo bafe an a<5lion : but fee-
ing it were to his difhonour to hinder him from his enterprife, they wifht him to be
graced with the palme of victorie. After Rosader was thus called out of his memento
by the Norman, hee roughlie clapt to him with fo fierce an incounter, that they both
fell to the ground, and with the violence of the fall were forced to breathe : in which
fpace the Norman called to minde by all tokens, that this was hee whom Saladyne
326 APPENDIX
had appoynted him to kil ; which conie(5hire made him ilretch euerie limb, & trie
euerie finew, that working his death he might recouer the golde, which fo bountifull^r
was promifed him. On the contrarie part, Rosader while he breathed was not idle,
but dill cafl his eye vppon Rosalynd, who to incourage him with a fauour, lent him
fuch an amorous looke, as might haue made the moil coward defperate: which
glance of Rosalynd fo fiered the pafTionate defires of Rosader, that turning to the
Norman hee ran vpon him and braued him with a (Irong encounter ; the Norman
receiued him as valiantly, that there was a fore combat, hard to iudge on whofe fide
fortune would be prodigall. At lad. Rosader calling to minde the beautie of his new
MidreiTe, the fame of his Fathers honours, and the difgrace that (hould fall to his
houfe by his miffortune, roufed himfelfe and threw the Norman againd the ground,
falling vpon his Ched with fo willing a waight, that the Norman yeelded nature her
due, and Rosader the vidlorie. The death of this Champion ; as it highlie contented
the Francklin, as a man fatiffied with reuenge, fo it drue the King and all the Peeres
into a great admiration, that fo young yeares and fo beautifull a perfonage, Ihould
containe fuch martiall excellence : but when they knew him to be the yongeft Soxme
of Sir lohn of BourdeauXy the King rofe from his feate and imbraced him, and the
Peeres intreated him with al fauourable courtefie, commending both his valour and
his vertues, wilhing him to goe forward in fuch haughtie deedes, that he might attaine
to the glorie of his Fathers honourable fortunes. As the King and Lordes graced
him with embracing, fo the Ladies fauored him with their lookes, efpecially Rosa-
lynd, whome the beautie and valour of Rosader had alreadie touched ; but
die accounted loue a toye, and fancie a momentarie pafTion, that as it was I, ii, 25
taken in with a gaze, might bee diaken off with a winck ; and therefore
feared not to dallie in the dame, and to make Rosader knowe die affe<5led him ; tooke
from hir neck a lewell, and fent it by a Page to the young Gentleman. The Prize
that Venus gaue to Paris was not halfe fo pleafmg to the Troian, as this lemme was
to Rosader : for if fortune had fwome to make him fole Monark of the world, he
would rather haue refufed fuch dignitie, than haue lod the iewell fent him by Rosa-
lynd. To retoume her with the like he was vnfumidied, and yet that hee might
more than in his lookes difcouer his affe(5tion, he dept into a tent, and taking pen
and paper writ this fancie.
Thvo Sunnes at once from one f aire heauen there Jhinde^
Ten branches from two boughes tipt all with rofes^
Pure lockes more golden than is golde refinde^
Two pearled roioes that Natures pride inclofes :
Two mounts f aire marble white j downe-foft and daintie^
A fnow died orbe\ where loue increast by pleafure
Full wofuU makes my hearty and bodie faintie :
Hir fair e (my woe) exceedes all thought and meafure. III, ii, 93
Jn lines confufde my luckleff^e harme appeereth ;
Whomforrow clowdes^ whom pleaf ant fmiling cleereth.
This fonnet he fent to Rosalynd, which when die read, die bludit, but with a
fweete content in that die perceaued loue had alotted her fo amorous a feruant Lean-
ing her to her new intertayned fancies, againe to Rosader ; who triumphing in the
glory of this conqued, accompanied with a troupe of young Gentlemen, that were
defirous to be his familiars, went home to his brother Saladynes, who was walking
LODGES ROSALYNDE yri
before the gates, to lieare what fuccefle his brother Rosader (hould haue, alTaring him
felf of his death, and deuifing how w< diflimuled forrow, to celebrate his funeralls ;
as he was in this thought, hee cail vp his eye, & fawe where Rosader returned with
the garlande on his heade, as hauing won the prize, accompanied with a crew of
boone companions ; greened at this, hee (lepped in and (hut the gate. Rosader fee-
ing this, and not looking for fuch vnkinde interta3mement, blufht at the difgrace, and
yet fmothering his griefe with a fmile, he turned to the Gentlemen, and defired them
to holde his brother excufed, for hee did not this vpon any malicious intent or nig-
gardize, but being brought vp in the countrie, he abfented him felfe, as not fmding his
nature fit for fuch youthfull companie. Thus hee fought to Ihadow abufes profTred
him by his brother, but in vayne, for he could by no meanes be fuffered to enter :
whereupon hee ran his foote againil the doore, and brake it open ; drawing his fworde
and entring bouldly into the Hall, where hee founde none (for all were fled) but one
Adam Spencer an Englifh man, who had been an olde and trudie feruant to Sir lohn
of Bourdeaux : he for the loue he bare to his deceafed Maifler, fauored the part of
Rosader, and gaue him and his fuch intertaynement as he coulde. Rosader gaue him
thankes, and looking about, feeing the hall empty, faide, Gentlemen, you are wel-
come, frolicke and be merie, you fhall be fure to haue Wine enough, whatfoeuer your
fare be, I tell you Caualiers my brother hath in his houfe, fine tunne of wine, and as
long as that lafleth, I befhrewe him that fpares his liquor. With that he burfl open
the butterie dore, and with the helpe of Adam Spencer, couered the Tables, and fet
downe whatfoeuer he could finde in the houfe, but what they wanted in meate, Rosa-
der fupplied with drinke, yet had they royall cheere, and withall fuch a hartie wel-
come, as would haue made the courfcfl meates, feeme delicates. After they had
feafled and frolickt it twife or thrife with an vpfey freeze, they all tooke their leaues
of Rosader and departed. AlToone as they were gone Rosader growing impatient of
the abufe, drewe his fworde, and fwore to be reuenged on the difcurteous Salad3me :
yet by the meanes of Adam Spencer, who fought to continue friendfhip and amitie
betwixt the brethren, and through the flattering fubmiffion of Saladyne, they were
once agayne reconciled, & put vp all fore pafTed iniuries, with a peaceable agreement,
lining together for a good fpace in fuch brotherly loue, as did not onely reioyce the
feruants, but made all the Gentlemen and bordring neighbours glad of fuch friendlie
concord. Saladyne hiding fire in the draw, and concealing a poysoned hate in a
p>eaceable countenance, yet deferring the intent of his wrath till fitter opportimitie, he
(hewed him felfe a great fauorer of his brothers vertuous endeuours : where leaning
them in this happie league, let vs retume to Rosalynd.
Rosalynd returning home frxmi the triumph, after fhe waxed folitarie, loue pre-
fented her with the Idea of Rosaders perfe<flion, and taking her at difcouert, flrooke
her fo deepe, as fhe felt her felfe grow pafTmg paffionate : fhe began to cail to minde
the comelinefTe of his perfon, the honor of his parents, and the vertues that excelling
both, made him fo g^cious in the eies of euerie one. Sucking in thus the hony of
loue, by imprinting in her thoughtes his rare qualities, fhe began to furfit with the con-
templation of his vertuous conditions, but when fhe cald to remembrance her prefent
eflate, and the hardneffe of her fortunes, defire began to fhrink, & fancy to vale bon-
net, that betweene a Chaos of confufed thoughtes, fhe began to debate with her felfe
in this manner. R osalynds pafsion . Infortunate Rosal3md, whofe mif-
fortunes are more than thy yeeres, and whofe paffions are greater than thy patience.
The bloiTomes of thy youth, are mixt with the fh>fles of enuie, and the hope of thy
enfuing fhites, perifh in the bud. Thy father is by Torismond banifht from the
328 APPENDIX
crowne, & thou the vnhappie daughter of a King detained captiue, liuing as difquieted
in thy thoughts, as thy father difconteted in his exile. Ah Rosalynd what cares wait
▼pO a crown, what griefes are incident to dignitie ? what forrowes haunt royal Pal-
laces 9 The greateft feas haue the forefl ilormes, the highefl birth fubie<5l to the mofl
bale, and of al trees the Cedars foonefl (hake with the winde : fmall Currents are euer
calme, lowe valleyes not fcorcht in any lightnings, nor bafe men tyed to anye balefull
preiudice. Fortune flies, & if (he touch pouertie, it is with her heele, rather difdayn-
ing their want with a frowne, than enuying their wealth with difparagement. Oh
Rosalynd, hadd thou been borne lowe, thou hadft not fallen fo high ; and yet being
great of bloud, thine honour is more, if thou brookeil miffortune with patience. Sup
pofe I contrary fortune with content, yet Fates Tnwilling to haue me any way happie,
haue forced loue to fet my thoughts on fire with fancie. Loue Rosalind 9 becommeth
it women in dillreire to thinke of loue ^ Tu(h, defu^ hath no refpe<5l of perfons,
Cupid is bhnde and (hooteth at randon, as foone hitting a rag, as a robe, and percing
aflbone the bofome of a Captiue, as the bread of a Libertine. Thou fpeakeil it poore
Rosalynd by experience, for being euerie way didreft, furcharged with cares, and
ouergrowne with forrowes, yet amidd the heape of all thefe mifliaps, loue hath lodged
in thy hart the perfe<5lion of young Rosader, a man euery way abfolute as well for his
inward life, as for his outward lyniaments, able to content the eye with beauty, and
the eare with the report of his vertue. But confider Rosalind his fortunes, and thy
prefent eflate, thou art poore and without patrimonie, and yet the daughter of a Prince,
he a younger brother, and voide of fuch poflefTions as eyther might maintayne thy
dignities, or reuenge thy fathers iniuries. And had thou not learned this of other
Ladies, that louers cannot liue by lookes ; that womens eares are fooner content with
a dram of giue me, than a pound of heare me ; that gould is fweeter than eloquence ;
that loue is a fire, & wealth is the fewell ; that Venus Coffers fhould be euer full.
Then Rosal3md, feeing Rosader is poore, thinke him leffe beautifull, becaufe he is in
want, and account his vertues but qualities of courfe, for that hee is not indued with
wealth. Doth not Horace tell thee what methode is to be vsed in loue, Querenda
pecunia primum^ post nummos virtus,
Tufh Rosalynd, be not ouer rafh ; leape not before thou looke ; eyther loue fuch a
one as may with his landes purchafe thy liberty, or els loue not at all. Choofe not a
fayre face with an emptie purfe, but fay as mofl women yfe to fay, Si nihil attuUris,
ibis Homere foras.
Why Rosalynd, can fuch bafe thoughtes harbour in fuch high beauties 9 Can the
degree of a Princes, the daughter of Gerismond harbour fuch feruile conceites, as to
prize gold more than honor, or to meafure a Gentleman by his wealth, not by his ver-
tues. No Ro6al3md, blufh at thy bafe resolution, and fay if thou louefl, either Rosa-
der or none : and why 9 becaufe Rosader is both beautifull and vertuous. Smiling
to her felfe to thinke of her new entertajmed pafHons, taking vp her Lute that lay by
her, (he warbled out this dittie.
Rofal3mds Madrigal.
Loue in my hofotne like a Bee
dothfucke hisfweete :
New with his wings he playes with me^
now with his feete.
Within mine ties he makes his neastf
His bed amidst my tender breast^
LODGES ROSALYNDE 329
My kijfes are his daily feast \
And yet he robs me of my rest.
Ah wanton^ will ye ?
And if JJltepey then pearcheth he
with pretie flighty
And makes his pillow of my knee
the liuelong night.
Strike I my lute he tunes the firings
He muficke playes if fo Ifingy
He lends me etierie louelie thing \
Yet cruell he my heart doth fling,
Whifi wanton ftill ye ?
Els I with rofes euerie day
wUl whip you hence ;
And binde you when you long to play ,
for your offence.
Hefhut mine eyes to keepe you in,
He make you fast it for your finne.
He count your power not worth apinne;
Ahlas what hereby fhall Iwinne,
Jf he gainfay me ?
WhcU if Jbeate the wanton boy
with manie a rod?
He will repay me with annoy,
becaufe a God.
Then fit thoufafely on my knee.
And let thy bowre my bofome be :
Lurke in mine eyes J like of thee:
Oh Cupid /tf thoupitie me.
Spare not but play thee.
Scarce had Rosalynde ended her Madrigale, before Torismond came in with his
daughter Alinda, and manie of the Peeres of France, who were enamoured of her
beautie : which Torismond perceiuing, fearing lead her perfe<5lion might be the begin-
ning of his preiudice, and the hope of his fruite ende in the beginning of her blof-
fomes, hee thought to banifh her from the Court : for quoth he to himfelfe, her face is
fo full of fauour, that it pleades pitie in the eye of euerie man ; her beautie is fo
heauenly and deuine, that (he will prooue to me as Helen did to Priam : fome one of
the Peeres will a3rme at her loue, ende the marriage, and then in his wiues right
attempt the kingdome. To preuent therefore had I will in all thefe a<5tions, (he
tarries not about the Court, but (hall (as an exile) either wander to her father, or els
feeke other fortunes. In this humour, with a fleame countenance fiill of wrath, hee
breathed out this cenfure vnto her before the Peeres, that charged her that that night
(hee were not feene about the Court : for (quoth he) I haue heard of thy afpiring
fpeaches, and intended treafons. This doome was (Irange vnto Rosalynde, and pref-
ently couered with the (hield of her innocence, (hee boldly brake out in reuerend
tearmes to haue cleared her felfe : but Torismond would admit of no reafon, nor
durft his Lordes plead for Rosalynde, although her beautie had made fome of them
33© APPENDIX
pafTionate, feeing the figure of wrath portraied in his brow. Standing thus all mute,
and Rosalynde amazed, Alinda who loued her more than her felfe, with griefe in her
heart, & teares in her eyes, falling downe on her knees, began to intreate her father
thus: Alindas oration to her father in defence of fa ire Rofa-
lynde. If (mightie Torismond) I offende in pleading for my friend, let the law
of amitie craue pardon for my boldnes ; for where there is depth of affe(flion, there
friendlhip alloweth a priuiledge. Rosalynde and I haue beene foflered vp from our
infancies, and nurfed vnder the harbour of our conuerfing together with fuch priuate
familiarities, that cuflome had wrought an vnion of our nature, and the fympathie of
our afiedtions fuch a fecrete loue, that we haue two bodies, and one foule. Then
meruaiie not (great Torismond) if feeing my friend diftreft, I finde my felfe perplexed
with a thoufand forrowes : for her vertuous and honourable thoughts (which are the
glories that maketh women excellent) they be fuch, as may challenge loue, and race
out fufpition : her obedience to your Maieilie, I referre to the cenfure of your owne
eye, that fmce her fathers exile hath fmotbered all griefes with patience, and in the
abfence of nature, hath honoured you with all dutie, as her owne Father by nouriture :
not in word vttering anie difcontent, nor in thought (as farre as coniedhire may reach)
hammering on reuenge ; onely in all her adlions feeking to pleafe you, & to winne my
fauour. Her wifedome, filence, chaditie, and other fuch rich qualities, I need not
decypher : onely it reds for me to conclude in one word, that (he is innocent. If
then. Fortune who triumphs in varietie of miferies, hath prefented fome enuious per-
fon (as minider of her intended dratagem) to taint Rosalynde with anie furmife of
treafon, let him be brought to her face, and conBrme his accufation by witneifes ;
which prooued, let her die, and Alinda will execute the malTacre. If none can
auouch anie confirmed relation of her intent, vfe ludice my Lord, it is the glorie of a
King, and let her line in your wonted fauour : for if you banifh her, my felfe as
copartner of her hard fortunes, wil participate in exile fome part of her extremities.
Torismond (at this fpeach of AUnda) couered his face with fuch a frowne, as
T3rrannie feemed to fit triumphant in his forehead, and checkt her vp with fuch taunts,
as made the Lords (that onlie were hearers) to tremble. Proude girle (quoth he)
hath my lookes made thee fo light of timg, or my fauours incouraged thee to be fo
forward, that thou dared prefume to preach ader thy father ? Hath not my yeares
more experience than thy youth, and the winter of mine age deeper infight into ciuill
policie, than the prime of thy florifhing dales ? The olde Eion auoides the toyles
where the yong one leapes mto the net : the care of age is prouident and forefees
much : fufpition is a vertue, where a man holds his enemie in his bofome. Thou
fonde girle meafured all by prefent affe<5lion, & as thy heart loues thy thoughts cen-
fure : but if thou knewed that in liking Rosalynd thou hatched vp a bird
to pecke out thine owne eyes, thou wouldd intreate as much for her I, iii, 83 /
abfence, as now thou delighted in her prefence. But why do I alleadge
policie to thee 9 fit you downe hufwife and fall to your needle : if idlenefTe make yon
fo wanton, or libertie fo malipert, I can quicklie tie yon tool ftiarper tafke : and you
(maide) this night be packing either into Arden to your father, or whether bed it (hall
content your humour, but in the Court you (hall not abide. This rigorous replje of
Torismond nothing amazed Alinda, for dill (he profecuted her plea in the defence of
Rosalynd, wilhing her father (if his cenfure might not be reuerd) that he would
appoint her partner of her exile ; which if he refufed to doo, either (he would (by
fome fecret meanes) deale out and followe her, or els end her daies with fome def-
perate kinde of death. When Torismond heard his daughter fo refolnie, hit heart
LODGES ROSALYNDE 331
was fo hardened againfl her, that he fet downe a definitiue and peremptorie fentence
that they (hould both be banifhed : which prefentlie was done. The Tyrant rather
choofing to hazard the lolTe of his only child, than any waies to put in quedion the
(late of his kingdome : fo fufpicious and feareful is the confcience of an vfurper.
Well, although his Lords perfwaded him to retaine his owne daughter, yet his refo-
lution might not bee reuerd, but both of them mud away from the court without either
more companie or delay. In he went with great melancholie, and left thefe two
Ladies alone. Rosalynd waxed very fad, and fat downe and wept. Alinda (he
fmiled, and fitting by her friende began thus to comfort her. Alindas com-
fort to perplexed Rofalynd. Why how now Rosalynd, difmaide with a
frowne of contraric fortune ^ Haue I not oft heard thee fay that high minds were
difcouered in fortunes contempt, and heroycall feene in the depth of extremities <?
Thou wert wont to tell others that complained of diflrefTc, that the fweeteil falue for
miferie was patience ; and the onlie medicine for want, that precious implaider of
'content : being fuch a good Phifition to others, wilt thou not miniiler receipts to thy
lelfe 9 But perchance thou wilt fay : Confulenti nunquam caput doluit.
Why, then, if the patients that are ficke of this difeafe can finde in themfelues neither
reafon to perfwade, nor arte to cure ; yet (Rosalynd) admit of the counfaile of a friend,
and applie the falues that may appeafe thy pafTions. If thou grieued that beeing the
daughter of a Prince, and enuie thwarteth thee with fuch hard exigents, thinke that
royaltie is a faire marke ; that Crownes haue crolTes when mirth is in Cottages ; that
the fairer the Rofe is, the fooner it is bitten with Catterpillers ; the more orient the
Pearle is, the more apt to take a blemilh ; and the greated birth, as it hath mod
honour, fo it hath much enuie. If then Fortune aimeth at the faired, be patient
Rosalynd ; for fird by thine exile thou goed to thy father ; nature is higher prifed
than wealth, & the loue of ones parents ought to bee more precious than all dignities :
why then doth my Rosalynd grieue at the frowne of Torismond, who by offering her
a preiudice, proffers her a greater pleafure S and more (mad lafTe) to be melancholie,
when thou had with thee Alinda a frend, who will be a faithful! copartner of al thy
miffortunes, who hath left her father to foUowe thee, and choofeth rather to brooke
all extremities than to forfake thy prefence. What Rosalynd : Solamen mi/eris focios
habuijfe doloris.
Cheerelie woman, as wee haue been bedfellowes in royaltie, we will be fellowe
mates in pouertie : I will euer bee thy Alinda, and thou (halt euer red to me Rosa-
lynd : fo (hall the world canonize our friendfhip, and fpeake of Rosalynd and Alinda,
as they did of Pilades and Orestes. And if euer Fortune fmile and wee retume to
our former honour, then folding our felues in the fweete of our friendfhip, wee fhall
merelie fay (calling to minde our forepaffed miferies) ; Olim hcsc meminijfe iuuabit.
At this Rosalynd began to comfort her; and after fhee had wept a fewe kind
teares in the bofome of her Alinda, fhe gaue her heartie thanks, and then they fat
them downe to confult how they (hould trauell. Alinda grieued at nothing but that
they might haue no man in their companie : faying, it would be their greated preiu-
dice in that two women went wandring without either guide or attendant Tufh
(quoth Rosalynd) art thou a woman, and had not a fodaine (hid to pre-
uent a miffortune ^ I (thou feed) am of a tall dature, and would very I, iii, zaz
well become the perfon and apparell of a page, thou (halt bee my Midris,
and I will play the man fo properly, that (trud me) in what company fo euer I come
I will not be difcouered ; I will buy mee a fuite, and haue my rapier very handfomely
at my fide, and if any knaue ofier wrong, your page will (hew him the point of his
332 APPENDIX
weapon. At this Alinda fiooiled, and vpon this they agreed, and prefentlie gathered
vp all their lewels, which they trufTed vp in a Caf ket, and Rosalynd in all haft pro-
oided her of roabes, and Alinda (from her royall weedes) pat her felfe in more home-
lie attire. Thus fitted to the purpofe, away goe thefe two friends, hauing
now changed their names, Alinda being called Aliena, and Rosal3md I, iii, 131
Ganimede : they trauailed along the Vineyards, and by many by-waies ;
at laft got to the Forreft fide, where they trauailed by the fpace of two or three daies
without feeing anie creature, being often in danger of wild beads, and pajmed nvith
many pafiionate forrowes. Now the black Oxe b^an to tread on their feete, and
Alinda thought of her wonted royaltie : but when (he call her eyes on her Rosalynd,
(he thought enerie danger a ilep to honour. Pafllng thus on along, about midday they
came to a Fountaine, compad with a groue of Cipreflfe trees, fo cunninglie and
curiouflie planted, as if fome Goddeflfe had intreated Nature in that place to make
her an Arbour. By this Fountaine fat Aliena and her Ganimede, and foorth they
pulled fuch Ti(5hialls as they had, and fed as merilie as if they had been in Paris
with all the Kings delicates : Aliena onely grieuing that they could not fo much as
meete with a (hepheard to difcourfe them the way to fome place where they might
make their aboade. At lad Ganimede cading vp his eye efpied where on a tree was
ingrauen certaine verfes : which aflbone as he efpied, he cried out ; bee of good
cheere Midris, I fpie the figures of men ; for here in thefe trees be ingrauen certaine
verfes of diepheards, or fome other fwaines that inhabite here about With that
Aliena dart vp ioyfull to heare thefe newes ; and looked, where they found earned in
the barke of a Pine tree this pafTion.
Montanus palsion.
Hadft thou been borne whereas perpetuall cold
Makes Tanais hard^ and mountaines Jiluer old:
Had I complained vnto a marble ftone ;
Or to theflotids bewraide my bitter mone,
I then could beare the burden of my grief e.
But euen the pride of Countries at thy birth,
WhiVJl heauens did f mile did new aray the earth
with flowers chiefe.
Yet thou the flower of beautie bleffed borne,
Hafl pretie lookes, but all attired in f come.
Had J the power to weepe fweet Mirrhas teares\
Or by my plaints to pearce repining eares ;
Hadft thou the heart to f mile at my complaint \
To f come the woes that doth my heart attaint,
I then could beare the burden of my grief e.
But not my teares, but truth with thee preuaUes,
And feeming fowre my forowes thee ajfailes :
yet f mall relief e.
For if thou wilt thou art of marble hard;
And if thou pleafe my fuite fhall foone be heard.
No doubt (quoth Aliena) this poefie is the pafTion of fome perplexed (hepheard,
that being enamoured of fome faire and beautifull ShepheardeiTe, fuffered fome (harpe
repulfe, and therefore complained of the crueltie of his Midris. You may fee (quoth
LODGES ROSALYNDE 333
Ganimede) what mad cattell you women be, wbofe hearts fometimes are made of
Adamant that will touch with no imprefTion ; and fometime of waxe that is fit for
euerie forme : they delight to be courted, and then they glorie to feeme coy ; and
when they are mod defired then they freefe with difdaine : and this fault is fo com-
mon to the fex, that you fee it painted out in the (hepheards pafTions, who found his
Miflris as froward as he was enamoiu^d. And I pray you (quoth Aliena) if your
roabes were off, what mettall are you made of that you are fo fatyricall
againft women ^ Is it not a foule bird defiles the owne nefl 9 Beware IV, i, 195
(Ganimede) that Rosader heare you not ; if he doo, perchance you will
make him leape fo far from loue, that he wil anger euery vain in your hart. Thus
(quoth Ganimede) I keepe decorum, I fpeake now as I am Alienas page, not as I
am Gerismonds daughter : for put me but into a peticoate, and I will (land in defiance
to the vttermofl that women are courteous, conflant, vertuous, and what not. Stay
there (quoth Aliena) and no more words ; for yonder be Canuflers grauen vpon the
barke of the tall Beech tree : let vs fee (quoth Ganimede) : and with that they read
a fieuicie written to this ef!e<5L
Firftjhall the heautns wantftarrie light \
The/eas be robbed of their waues ;
The day want f unite y and funne want bright \
The night wantjhade^ the dead men graues ;
The ApH II y flowers and leafe and tree,
Before Ifalfe my faith to thee,
Firftfhall the tops of highefl hills
By humble plaines be ouerpride\
And Poets f come the Mufes quills.
And fifh forfake the water glide;
And Iris loofe her coloured weed.
Before Ifaile thee at thy need,
Fir/l direfull hate fh all tume to peace.
And hue relent in deepe difdaine ;
And death his fatall flroake fhall ceafe.
And enuie pitie euery paine ;
And pleafure maumey aud forowe fmile.
Before I talke of any guile,
Firfi time fhall flay his ftayleffe race.
And winter bleffe his browes with come;
And f now bemoysten Julies face ;
And winter fpring, andfommer moume.
Before my pen by helpe of fame,
Ceafe to recite thy f acred name, Montanus.
No doubt (quoth Ganimede) this proteflation grewe from one full of pafTions. I
am of that mind too (quoth Aliena) but fee I pray, when poore women feeke to keepe
themfelues chad, how men woo them with many fained promifes, alluring with fweet
words as the Syrens, and after proouing as trothlelTe as AEneas. Thus promifed
Demophoon to his Phillis, but who at lafl grewe more falfe ? The reafon was (quoth
Ganimede) that they were womens fonnes, and tooke that fault of their mother ; for
if man had growen from man, as Adam did from the earth, men had neuer been
334 APPENDIX
txoubled with inconflancie. Leaue off (quoth Aliena) to taunt thus bitterly, or els
He pul off your pages apparell and whip you (as Venus doth her wantons) with net-
ties. So you will (quoth Ganimede) perfwade me to flattrie, and that needs not : but
come (feeing we haue found heere by this Fount the trackt of Shepheards by their
Madrigals and Roundelaies) let vs forward; for either we (hall finde fome foldes,
Iheepcoates, or els fome cottages wherein for a day or two to reft. Cotent (quoth
Aliena) and with that they rofe vp, and marched forward till towards the euen : and
then comming into a faire valley (compaffed with mountaines, whereon grewe many
pleafant (hrubbs) they might defcrie where two flocks of (heepe did feede. Theo
looking about, they might perceiue where an old Ihepheard fat (and with him a yong
fwaine) vnder a couert moft pleafantlie fcituated. The ground where they fat was
diapred with Floras riches, as if (he ment to wrap Tellus in the glorie of her vefl-
ments : round about in the forme of an Amphitheater were moft curiouflie planted
Pine trees, interfeamed with Limons and Citrons, which with the thickneffe of their
boughes fo fhadowed the place, that Phoebus could not prie into the fecret of that
Arbour ; fo vnited were the tops with fo thicke a clofure, that Venus might there in
her ioUitie haue dallied vnfeene with her deereft paramour. Faft by (to make the
place more gorgeous) was there a Fount fo Chriflalline and cleere, that it feemed
Diana with her Driades and Hemadriades had that fpring, as the fecrete of all their
bathings. In this glorious Arbour fat thefe two fhepheards (feeing their fheepe feede)
playing on their pipes many pleafant tunes, and from mufick and melodic falling into
much amorous chat : drawing more nigh wee might defcrie the countenance of the
one to be full of forowe, his face to be the verie pourtraiture of difcontent, and his
eyes full of woes, that lining he feemed to dye : wee (to heare what thefe were) ftol«
priuilie behind the thicke, where we ouerfaeard this difcourfe.
A pleafant Eglog betweene Montanus and G>ridon.
Condon.
Say /hepheards boy, what makes thee greet fo fore f
Why leaues thy pipe his pleafure and delight f
Yong are thy yeareSj thy cheekes with roses dight:
Then fing for ioy {^fweet fwaine) andfigh no more*
This milke white Poppie and this climbing Pine
Both promifefhade ; then fit thee downe and fing^
And make thefe woods with pleafant notes to ring^
TVl Phoebus daine all Westward to decline.
Montanus.
Ah (Coridon) vnmeet is melodie
To him whom proud contempt hath ouerbome :
Slaine are my ioys by Phcebes bitter fcome^
Farre hence my weale and nere my ieopardii,
Lotus burning brand is couched in my brefl^
Making a Phoenix of my faintfull hart :
And though his furie doo inforce my fmart^
Ay blyth am I to honour his behefl,
Preparde to woesfincefo my Phoebe wUls^
My lookes dif maid fence Phoebe wUl difdaim x
Ibanifh bliffe and welcome home mypaimi
Soflreame my teares as fhowers from Alpine kiUi.
LODGES ROSALYNDE 335
Jn errours mask£ Iblmdfolde iudgements eyt^
J fetter reafon in thefnares of lust^
Jfeemefecure, yet know not how to trust i
J Hue by thaty which makes me liuing die,
Deuoyd of rest, compani4m of distreffe^
Plagtie to myfelfey confumed by my thought \
How may my voyce or pipe in tune be brought t
Since J am reft of folace and delight.
Condon.
Ah Lorrell lad, what makes thee Herry loue t
A fugred harme, a poyfon full of pleafure^
A painted fhrine fulfild with rotten treafure^
A heauen infkew, a hell to them that proue,
Againe, in feeming fhadowed ftill with want,
A broken fiaffe which follie doth vpholde,
A flower that fades with euerie frostie colde.
An orient rofe f prong from a wythred plant,
A minutes iqy to gaine a world of greefe,
A fubtill net tofnare the idle minde,
A feeing Scorpion ^ yet in feeming blinde,
A poore reioyce, a plague without releefe.
For thy M.onXaji\x& follow mine arreede,
( Whom age hath taught the traynes thatfancie vfetK)
Leauefoolifh loue ; for beautie wit abufeth.
And drownes (by follie) vertues fpringing feede,
Montanus.
So blames the childe the flame, becaufe it bumes ;
And bird thefnare, becaufe it doth intrap ;
Andfooles true loue, becaufe of forrie hap ;
Andfaylers curffe thefkip that ouertumes :
But would the childe forbeare to play with flame ^
And birdes beware to trust the fowlers ginne,
Andfooles forefee before they fall andfinne.
And maiflers guide their fhips in better frame ;
The childe would praife the fire, becaufe it warmtt\
The birds reioyce, to fee the fowler faile ;
And fooles preuent, before their plagues preuaile\
Andfaylers bleffe the barke that faues from harmei.
Ah Coridoo, though manie be thy yeares.
And crooked elde hathfome experience left\
Yet is thy minde of iudgement quite bereft
In view of loue, whofe power in me appeares.
The ploughman little wots to tume the pen^
Or bookeman skills to guide the ploughmans carif
Nor can the cobler count the tearmes of Art,
Nor bafe men iudge the thoughts of migktie men %
336 APPENDIX
Nor wythered age {ynmeete for beauties guide^
Vncapable of lotus imprejjion)
Difcourfe of that, whofe choyce poffejfion
May netter tofo bafe a man be tied.
But I {whom nature makes of tender molde^
And youth most pliant yeeldes to fancies fire^
Doo builde my hauen and heauen onfweete defire,
Onfweete defire more deere to me than golde,
Thinke I of loue, d how my lines aspire ?
How hast the Mufes to imbrace my browes.
And hem my temples in with lawrell bowes.
And fill my braines with chafl and holy fire ?
Then leaue my lines their homely equipage^
Mounted beyond the circle of the Sunne ;
Amas^d I read theftile when I haue done.
And Herry Loue that fent that heauenly rage.
Of Phcebc then, of Phcebe then Ifmg,
Drawing the puritie of all the fpheares.
The pride of earth, or what in heauen appeares.
Her honoured face and fame to light to bring,
Jn fluent numbers and in pleafant vaines,
J rob both fea and earth of all their ftate.
To praife her parts : I charme both time and fate.
To blefse the Nymph that yieldes me loue ficke paints.
Myfheepe are turned to thoughts, whom fronvard wiU
Guides in the restleffe Laborynth of loue,
Feare lends them paflure wherefoere they moue.
And by their death their life renueth fiill,
Hyfheephooke is my pen, mine oaten reede
My paper, where my manie woes are written \
Thus filly fwaine {with loue andfancie bitten)
J trace the plaines of paine in wofull weede.
Yet are my cares, my broken fleepes, my teares.
My dreames, my doubts, for l^hcehe fweete to me:
Who wayteth heauen inforrowes vale must be.
And glorie fhines where danger most appeares.
Then Coridon although J blythe me not.
Blame me not man, fince forrow is my fweete\
So willeth Loue, and Phcebe thinkes it meete.
And kinde Montanus liketh well his lot,
Coridon.
Oh flaylefse youth, by errourfo mif guided;
Where will prefcribeth lawes to perfeifl wits.
Where reafon moumes, and blame in triumph fiis^
And follie poyfoneth all that time prouided.
LODGES ROSALYNDE 337
With wilfull hlindnejfe bleardy preparde tojhame^
Prone to negUifl Occafion when Jhe f miles :
Alas that Lone (by fond and froward guiles^
Should make thee traifl the path to endlejfe blame.
Ah {my Montanus) curfed is the charme
That hath bewitched fo thy youthfull eyes :
Leaue off in time to like thefe vanities ;
Be forward to thy goody and fly thy harme.
As manie bees as Hibia daily Jhields^
As manie frie asfleete on Oceans /ace.
As manie heards as on the earth doo trace.
As manie Jlowres as decke the fragrant fields.
As manie ftarres as glorious heauen containes,
As manie ftormes as wayward winter weepes.
As manie plagues as hell inclofed keepes ;
So manie greefes in loue,fo manie paines,
Sufpitions, thoughts, defires, opinions, praiers,
Miflikes, mifdeedes, fond ioyes, and fained peace,
Jllufeons, dreames, great paines, and f mall increafe,
Vowes, hopes, acceptance, f comes, and deepe defpaires.
Truce, warre, and woe doo waite at beauties gate ;
Time loft, lament, reports, and priuie grudge.
And laft, fierce Loue is but a partiall Judge,
Who yeeldes for feruice fhame, for friendftiip hate,
Montanus.
All Adder-like I ft op mine eares {fondfwaine)
So charme no more ; for I will neuer change.
Call home thyftockcs in time thatftragling range :
For loe, the Sunne declineth hence amaine.
Terentius.
Jn amore hctc omnia infunt vitia, inducia, inimicita, bellum, pcuc rurfum : incerta
hcecfi tu postules, ratione certa fieri nihilo plus agas, quamfi des operam, vt cum
raiione infanias.
The (hepbeards bailing thus ended their Eglogue, Aliena flept with Ganimede
from bcbinde the thicket : at'whofe fodaine fight the (hepbeards arofe, and Aliena
faluted them thus ; Sbepheards all haile, (for fuch wee deeme you by your flockes)
and Louers, good lucke ; (for fuch you feeme by your paflions) our eyes being wit-
nefle of the one, and our eares of the other. Although not by Loue, yet by Fortune,
I am a diflrelTed Gentlewoman, as forrowful as you are pafTionate, and as full of woes
as you of perplexed thoughts : wandring this way in a forreft vnknowen, onely I and
my Page, wearied with trauaile would faine baue fome place of reft. May you
appoint vs anie place of quiet harbour, (be it neuer fo meane) I (hall be thankfull to
you, contented in my felfe, and gratefull to whofoeuer (hall bee mine hofte. Coridon
hearing the Gentlewoman fpeak fo courteoufly returned her mildly and reuerentlie
this aunfwere.
Faire Miftres, we retume you as beartie a welcome, as you gaue vs a coiirteous
aa
338 APPENDIX
falute. A (hepheard I am, & this a loner, as watchful to pleafe his wench, as to feed
his (heep : full of fancies, and therefore (fay I) full of follies. Exhort him I may,
but perfwade him I cannot ; for Loue admits neither of counfaile, nor reafon. But
leauing him to his palTions, if you be didrefl, I am forrowfuU fuch a faire creature is
croil w< calamitie : pray for you I may, but releeue you I cannot : marry, if you want
lodging, if you vouch to (hrowd your felues in a fhepheards cotage, my houfe (for this
night) fhalbe your harbour. Aliena thankt Coridon greatly, and prefently fate her
downe and Ganimede by her. Condon looking eameilly vppon her, and with a
curious furuey viewing all her perfe(flions, applauded (in his thought) her excellence,
and pitying her diilrelTe, was defirons to heare the caufe of her miffortnnes, began to
queflion with her thus.
If I (hould not (faire Damofell) occafionate offence, or renae yotr griefes by rub-
bing the fcarre, I would faine craue fo much fauour, as to know the caufe of your
miffortime : and why, and whether you wander with your page in fo dangerous a for-
reil. Aliena (that was as courteous as (he was faire) made this reply ; Shepheard, a
friendlie demaund ought neuer to be offenfiue, and quedions of courtefie carrie priui-
ledged pardons in their forheads. Know therfore, to difcouer my fortunes were to
renue my forrowcs, and I (hould by difcouHing my mi(haps, but rake fier out of the
cinders. Therefore let this fuffice (gentle (hepheard) my didrelTe is as great as my
trauell is dangerous, and I wander in this forred, to light on fome cottage where I
and my Page may dwell : for I meane to buy fome farme, and a flocke of (heepe, and
fo become a (hepheardeiTe, meaning to liue low, and content me with a countrey life :
for I haue heard the fwaynes fay, that they dninke without fufpition, & (lept without
care. Marry Miflres (quoth Coridon) if yon meane fo you came in a good time, for
my landdord intends to fell both the farrae I till, and the flocke I keepe, & cheap you
may haue them for readie money : and for a (hepheards life (oh MiflreiTe) did you
but liue a while in their content, you would faye the Court were rather a place of for-
rowe, than of folace. Here (Miflreffe) (hall not Fortune thwart you, but in meane
miffortunes, as the lofTe of a few (heepe, which, as it breedes no beggerie, fo it can bee
no extreame preiudice : the next yeare may mend al with a fre(h increafe. Enuie
(lirres not vs, wee couet not to climbe, our defires mount not aboue our degrees, nor
our thoughts aboue our fortunes. Care cannot harbour in our cottages, nor doo our
homely couches know broken (lumbers : as we exceede not in diet, fo we haue inongh
to fatifRe : and Midres I haue fo much Latin, Satis est quod fufficit.
By my troth (hepheard (quoth Aliena) thou maked me in loue with your conntrey
life, and therefore fende for thy Landdord, and I will buy thy farme and thy flockes,
& thou (halt dill (vnder me) be onerfeer of them both ; onely for pleafurefake I and
my Page will feme you, lead the flocks to the field, and folde them : thus will I line
quiet, vnknowcn, and contented. This newes fo gladded the hart of Coridon, that
he (hould not be put out of his farme, that (putting off his (hepheards bonnet) he did
her all the reuerence that he might. But all this while fate Montanus in a mnfe
thinking of the crueltie of his Phoebe, whom he woed long, but was in no hope to
winne. Ganimede who dill had the remembrance of Rosader in his thoughts, tooke
delight to fee the poore (hepheard paffionate, laughing at loue that in all his atftions
was fo imperious. At lad when (hee had noted his teares that dole downe his cheekes,
and his fighes that broake from the center of his heart, pittying his lament, (he de-
maunded of Coridon why the young (hepheard looked fo forrowfuU 9 Oh fir (quoth
he) the boy is in loue. WTiy (quoth Ganimede) can (hepheards loue ? I (quoth
Montanus) and ouerloue, els (houldd not thou fee me fo pcnfme. Loue (I tell thee)
LODGES ROSALYNDE 339
is as precious in a (hepbeards eye as in the lookes of a King, and we cotmtrey fwaynes
intertain fancie with as great delight, as the proudeil courtier doth affe<5lion. Oppor-
tunitie (that is the fweeteil freind to Venus) harboureth in our cottages, and loyaltie
(the chiefefl fealtie that Cupid requires) is found more among Ihepheards than higher
degrees. Then af ke not if fuch filly fwaynes can loue ? What is the cause then,
quoth Ganimede, that Loue being fo fweete to thee, thou lookeft fo forrowfull^
Becaufe, quoth Montanus, the partie beloued is froward : and hauing courtefie in her
lookes, boldeth difdaine in her tongues ende. What hath (he then quoth Aliena, in
her heart 9 Defire (I hope Madame) quoth he : or els my hope loft, defpaire in Loue
were death. As thus they chatted, the Sunne being readie to fet, and they not hauing
folded their (heepe, Coridon requefted (he would fit there with her Page, till Montanus
and he lodged their (heepe for that night You (hall goe quoth Aliena, but firft I will
intreate Montanus to (ing fome amorous Sonnet, that bee made when he hath been
deeply padionate. That I will quoth Montanus : and with that he began thus.
Montanus Sonnet.
Phoebe /a/tf
Sfuette Jhe fatet
Sweetefaie Phoebe when Ifano her^
White her brow^
Coy her eye:
Brew and eye htm much yonplea/e me f
Words J f pent ^
SighesJ/ent,
Sighes and words could neuer draw her.
Oh my loue
Thou art loji^
Since no fight could euer eafe thee,
V^ccha/at
By afount\
Sitting by afountjfpide her:
Sweet her touch.
Bare her voyce ;
Touch and voice what may distaineyou t
Asfiiefung,
Ididfigh,
And hyfighs whilft that Itride her.
Oh mine eyes
You did loofe
Her firft fight who/e want didpaineyom.
Y^o^aeAflocks
White as woolly
Yet were Fhoebes lochs more whiter,
Fhoebes eyes
Douelike mild,
Douelike eyes both mild and crueU,
Montan fweares
In your lampes
He will die for to delight her.
340 APPENDIX
Fhoebe yeeJd^
OrIdie\
Shall true hearts be fancies fuell t
Montanus had no fooner ended his fonnet, but Condon with a lowe courtefie rofe
vp and went with his fellow and Ihut their (heepe in the foldes : and after returning
to Aliena and Ganimede, condu<fled them home wearie to his poore Cottage. By the
way there was much good chat with Montanus about his loues ; he refoluing Aliena
that Phoebe was the fairefl Shepherdice in all France, and that in his eye her beautie
was equall with the Nimphs. But (quoth hee) as of all (lones the Diamond is mod
cleered, and yet mod hard for the Lapidory to cut ; as of all flowers the Rofe is the
faired, and yet guarded with the (harped prickles : fo of all our Countrey Lafles
Phoebe is the brighted, but the mod coy of all to doope vnto defire. But let her take
heede quoth he, I haue heard of Narcissus, who for his high difdaine againd Loue,
perilhed in the follie of his owne loue. With this they were at Coridons cotage,
where Montanus parted from them, and they went in to red. Alinda and Ganimede
glad of fo contented a (helter, made merrie with the poore fwayne : and though they
had but countrey fare and courfe lodging, yet their welcome was fo great, and their
cares fo litle, that they counted their diet delicate, and flept as foundly as if they had
been in the court of Torismond. The next mome they lay long in bed, as wearied
with the toyle of vnaccudomed trauaile: but aflbone as they got vp,
Aliena refolued there to fet vp her red, and by the helpe of Condon II, iv, 97
fwept a barga ne with his Landdord, and fo became Midres of the farme
& the flocke : her felfe putting on the attire of a diepheardefle, and Ganimede of a
yong fwaine : euerie day leading foorth her flocks with fuch delight, that die held
her exile happie, and thought no content to the blifle of a Countrey cottage. Leaning
her thus famous amongd the diepheards of Ardetiy againe to Saladjme.
When Saladyne had a long while concealed a fecret refolution of rcuenge, and
could no longer hide Are in the flax, nor oyle in the flame ; (for enuie is like light-
ning, that will appeare in the darked fogge). It chaunced on a morning verie early
he calde vp certaine of his fcruaunts, and went with them to the chamber of Rosader,
which being open, he entred with his crue, and furprifed his brother beeing a fleepe,
and bound him in fetters, and in the midd of his hall chained him to a poad. Rosa-
der amazed at this draunge chaunce, began to reafon with his brother about the caufe
of this fodaine extremitie, wherein he had wrongd S and what fault he had committed
worthie fo fliarpe a penaunce. Saladyne anfwered him onely with a looke of difdaine,
& went his way, leauing poore Rosader in a deepe perplexitie. Who (thus abufed)
fell into fundne paflions, but no meanes of releefe could be had : wherevpon (for
anger) he grew into a difcontented melancholy. In which humour he continued two
or three dayes without meate : infomuch, that feeing his brother would giue him no
foode, he fell into defpaire of his life. Which yfdam Spencer the olde feruaunt of
Sir lohn of Bourdeaux feeing, touched with the duetie and loue he ought to his olde
Mader, felt a remorfe in his confcience of his fonnes mifhap : and therefore, although
Saladyne had giuen a generall charge to his feruaunts, that none of them vppon paine
of death (houlde giue either meate or drinke to Rosader, yet ^dam Spencer in the
night arofe fecretely, and 'brought him fuch vi(5lualls as hee could prouide, and
vnlockt him and fet him at libertie. After Rosader had well feaded himfelfe, and
felt he was loofe, draight his thoughts aymed at reuenge, and now (all being a fleepe)
hee woulde haue quit Saladyne with the methode of his owne mifchief. But ^dam
LODGES ROSALYNDE 341
Spencer perfwaded him to the contrarie, with thefe reafons ; Sir quoth he, be content,
for this night go againe into your olde fetters, fo Ihall you trie the faith of friends,
and faue the life of an olde feruant. To morrowe hath your brother inuited al your
kindred and allyes to a folempne breakfail, onely to fee you, telling them all, that
you are mad, & faine to be tied to a poail. Aflbne as they come, make complaint to
them of the abufe profered you by Saladyne. If they redrelTe you, why fo : but if
they paffe ouer your plaints ftcco pede^ and holde with the violence of your brother
before your innocence, then thus : I will leaue you vnlockt that you may breake out
at your pleafure, and at the ende of the hall (hall you fee Hand a couple of good pol-
laxes, one for you, and another for me. When I giue you a wink, (hake off your
chaynes, and let vs play the men, and make hauocke amongd them, driue them out
of the houfe and maintaine poffefTion by force of armes, till the King hath made a
redreffe of your abufes. Thefe wordes of ^dam Spencer fo perfwaded Rosader, that
he went to the place of his punilhment, and flood there while the next morning.
About the time appoynted, came all the guefls bidden by Saladyne, whom he
intreated with courteous and curious intertainment, as they al perceiued their wel-
come to be great. The tables in the hal where Rosader was tyed, were couered, and
Saladyne bringing in his guefls together, (hewed them where his brother was boimd,
and was inchainde as a man lunaticke. Rosader made replie, and with fome
inuedliues made complaints of the wrongs proffered him by Saladyne, defiring they
would in pitie feeke fome meanes for his reliefe. But in vaine, they had flopt their
eares with Vlisses, that were his words neuer fo forceable, he breathed onely his
pafTions into the winde. They careleffe, fat down with Saladyne to dinner, being
verie frolicke and pleafant, wafhing their heads well with wine. At lad, when the
fume of the grape had entred peale meale into their braines, they began in fat3rrical
fpeaches to raile againfl Rosader : which Adam Spencer no longer brooking, gaue
the figne, and Rosader (baking off his chaines got a poUax in his hand, and flew
amongil them with fuch violence and fury, that he hurt manie, flew fome, and draue
his brother and all the reft quite out of the houfe. Seeing the coail cleare, he fhut
the doores, and being fore an hungred, and feeing fuch good vi(5luals, he fate him
downe with Adam Spencer and fuch good fellows as he knew were honed men, and
there feafled themfelucs with fuch prouifion as Saladyne had prepared for his frieds.
After they had taken their repaft, Rosader rampierd vp the houfe, lead vpon a fodaine
his brother fhould raife fome crue of his tenaunts, and furprife them vnawares. But
Saladyne tooke a contrarie courfe, and went to the Sheriffe of the (hyre and made
complaint of Rosader, who giuing credite to Saladyne, in a determined refolution to
reuenge the Gentlemans wrongs, tooke with him fine and twentie txdl men, and made
a vowe, either to breake into the houfe and take Rosader, or els to coope him in till
he made him yeelde by famine. In this determination, gathering a crue together he
went forward to fet Saladyne in his former edate. Newes of this was brought vnto
Rosader, who fmiling at the cowardize of his brother, brookt all the iniuries of For-
tune with patience, expecfling the comming of the Sheriffe. As he walkt vpon the
battlements of the houfe, he defcryed where Saladyne and he drew neare, with a
troupe of ludie gallants. At this he fmilde, and calde vp Adam Spencer, and (hewed
him the enuious treacherie of his brother, and the folly of the Sheriffe to bee fo
credulous : now Adam, quoth he, what (hall I doo 9 It r^ds for me, either to yeelde
vp the houfe to my brother and feeke a reconcilement, or els iffue out, and breake
through the companie with coiu^e, for coopt in like a coward I will not bee. If I
fubmit (ah Adam) I difhonour my felfe, and that is worfe than death ; for by fuch
342 APPENDIX
open difgmces tbe fame of men giowes odious : if I ifTue out amongft them, fortune
may fauour me, and I may efcape with life ; but fuppofe the woril : if I be flaine,
then my death (hall be honourable to me, and fo inequall a reiKnge infamous to Sala-
dyne. Why then Mafler forward and feare not, out amongil them, they bee but faint
hearted lozells, and for Adam Spencer, if he die not at your foote, fay he is a daflard.
Thefe words cheered vp fo the hart of yong Rosader, that he thought himfelfe fiif-
ficient for them all, & therefore prepared weapons for him and Adam Spencer, and
were readie to intertaine the Sheriffe : for no fooner came Saladyne and he to the
gates, but Rosader vnlookt for leapt out and aflailed them, wounded manie of them,
and caufed the reft to giue backe, fo that ^dam and hee broke through the preafe in
defpite of them all, and tooke theyr way towards the forred of Arden. This repulfe
fo fet the Sheriffes heart on fire to reuenge, that he llraight rayfed al the countrey,
and made Hue and Crie after them. But Rosader and Adam knowing full well the
fecrete wayes that led through the vineyards, ilole away priuely through the prouince
of Bourde<mx,t & efcaped iafe to the forrefl of Arden. Being come thether, they were
glad they had fo good a harbour : but Fortune (who is like the Camelion) variable
with euerie obie<^, & conflant in nothing but inconfl&cie, thought to make them myr-
rours of her mutabilitie, and therefore dill crofl them thus contrarily. Thinking dill
to palTe on by the bywaies to get to Lions^ they chaunced on a path that led into the
thicke of the forred, where they wandred fine or fixe dayes without meat, that they
were almod famifhed, finding neither (hepheard nor cottage to relieue them: and
hunger growing on fo extreame, Adam Spencer (being olde) began fird to faint, and
fitting him downe on a hill, and looking about him, efpied where Rosader laye as
feeble and as ill perplexed : which fight made him (hedde teares, and to fall into
thefe bitter tearmes. Adam Spencers fpeach. Oh how the life of man
may well be compared to the flate of the Ocean feas, that for euerie calme hath a
thoufand dormes : refembling the Rofe tree, that for a few faire flowers, hath a mul-
titude of fharpe prickles : all our pleafures ende in paine, and our highed delights,
are croffed with deeped difcontents. The ioyes of man, as they are few, fo are they
momentarie, fcarce ripe before they are rotten ; and wythering in the blofibme, either
parched with the heate of enuie, or fortune. Fortune, oh incondant friend, that in
all thy deedes are froward and fickle, delighting in the pouertie of the lowed, and
the ouerthrow of the highed, to decypher thy incondancie. Thou dandd ypon a
gloabe, and thy wings are plumed with times feathers, that thou maid euer be refl-
lefle ; thou art double faced like lanus, carying frownes in the one to threaten, and
fmiles in the other to betray ; thou proffered an Eele, and perfouimed a Scorpion ;
and where thy greated fauours be, there is the feare of the extreamed mifTortunes ;
fo variable are all thy a<5lions. But why Adam dood thou exclaime againd fortune ^
fhe laughs at the plaints of the didrefled ; and there is nothing more pleafing vnto
her, than to heare fooles boad in her fading allurements, or forrowfuH men to dif-
couer the fower of their paffions. Glut her not Adam then with content, but thwart
her with brooking all mifhappes with patience. For there is no greater checke to the
pride of fortune, than with a refolute courage to pafle ouer her croffes
without care. Thou ait olde Adam, and thy haires wax white, the III, ii, 174
Palme tree is alreadie full of bloomes, and in the furrowes of thy
face appeares the Kalenders of death ? Wert thou blefled. by fortune thy yeares
could not be manie, nor the date of thy life long : then f\th Nature mud haue her
due, what is it for thee to refigne her debt a little before the day. Ah, it is not this
which grieueth mee : nor doo I care what mifhaps Fortune can wage againd me : but
LODGES ROSALYNDE 343
the fight of Rosader, that galleth vnto the quicke. When I remember the woHhips
of his houfe, the honour of his fathers, and the vertucs of himfelfe ; then doo I fay,
that fortune and the fates are mod iniurious, to ccnfure fo hard extreames, againil a
youth of fo great hope. Oh Rosader, thou art in the flower of thine age, and in the
pride of thy yeares, buxfome and full of May. Nature hath prodigally inricht thee
with her fauours, and vertue made thee the myrrour of her excellence : and now
through the decree of the vniufl (larres, to haue all thefe good partes nipped in the
blade, and blemilht by the inconilancie of Fortune. Ah Rosader, could I helpe
thee, my griefe were the lefle, and happie (hould my death be, if it might be the
beginning of thy reliefe : but feeing we perifh both in one extreame, it is a double
forrowe. What (hall I do ^ preuent the fight of his further miffortune, with a prefent
difpatch of mine owne life. Ah, defpaire is a mercileife finne.
As he was readie to go forward in his paflion, he looked eameflly on Rosader, and
feeing him change colour, he rife vp and went to him, and holding his temples, faide,
Wliat cheere mafler ? though all faile, let not the heart faint : the courage of a man
is (hewed in the refolution of his death. At thefe words Rosader lifted vp his eye,
and looking on Adam Spencer began to weepe. Ah Adam quoth he, I forrowe not
to die, but I grieue at the manner of my death. Might I with my launce encounter
the encmie, and fo die in the field, it were honour, and content : might I (Adam)
combat with fome wilde bead, and perifh as his pray, I wer fatiffied ; but to die with
hunger, O Adam, it is the extrcamed of all extreames. Mader (quoth hee) you fee
wee are both in one predicament, and long I cannot line without mcate, feeing there-
fore we can fmd no foode, let the death of the one preferue the life of the other. I
am olde, and ouerwome with age, you are young, and are the hope of many honours :
let me then die, I will prefently cut my veynes, & mader with the warme bloud relieue
your fainting fpirits : fucke on that till I ende, and you be comforted. With that
yf dam Spencer was readie to pull out his knife, when Rosader full of courage (though
verie faint) rofe vp, and wifht ^dam Spencer to (it there till his retoume : for my
minde giues me quoth he, I (hall bring thee meate. With that, like a mad man he
rofe vp, and ranged vp and downe the woods, feeking to encoimter fome wilde bead
with his rapier, that either he might carrie his friend ^dam food, or els pledge his life
in pawne of his loyaltie. It chaunced that day, that Gerismond the lawfull king of
France banifhed by Torismond, who with a luflie crue of Outlawes liued in that for-
ed, that day in honour of his Birth made a Fead to all his bolde yeomen, and frolickt
it with dore of wine and venifon, fitting all at a long table vnder the fhadowe of
lymon trees. To that place by chance Fortune condwfled Rosader, who feeing fuch
a crue of braue men hauing flore of that, for want of which he and ^dam perifhed,
he dept boldly to the boords end, and faluted the companie thus.
Whatfoere thou bee that art mader of thefe ludie fquiers, I falute thee as gra-
cioufly, as a man in extreame didrefTe may ; knowe that I and a fellow friend of mine,
are heere famifhed in the forred for want of foode : perifh we mud vnlefTe relieued
by thy fauours. Therefore if thou be a Gentleman, giue meate to men, and to fuch
men as are euerie way worthie of life ; let the prouded fquire that fittes at thy table,
rife & incounter with me in anie honourable point of actiuitie what foeuer, and if he
and thou proue me not a man, fend me a way comfortleffe. If thou refufe this, as a
niggard of thy cates, I will haue amongd you with my fword ; for rather will I die
valiantly, than perifh with fo cowardly an extreame. Gerismond looking him earn-
cdly in the face, and feeing fo proper a Gentleman in fo bitter a pafTion, was mooued
with fo great pitie ; that rifmg from the table, he tooke him by the hand and bad him
344 APPENDIX
welcome, willing him to fit downe in bis place, and in his roome not onely to eate his
fill, but be Lord of the feafl. Gramercie fir (quoth Rosader) but I haue a feeble
fiiend that lies heereby famiOied almod for food, aged and therfore leffe able to abide
the extremitie of hunger than my felfe, and dilhonour it were for me to tade one crum,
before I made him partner of my fortunes : therefore I will runne and fetch him, and
then I will gratefully accept of your proffer. Away hies Rosader to yf dam Spencer,
and tells him the newes, who was glad of fo happie fortune, but fo feeble he was that
bee could not goe : whereupon Rosader got him vp on his backe, and brought him to
the place. Which when Gerismond & his men faw, they greatly applauded their
league of friendfhip ; and Rosader hauing Gerismonds place affigned him, would not
fit there himfelfe, but fet downe Adam Spencer. Well to be fliort, thofe hungrie
fquires fell to their vi(flualls, and feailed themfelues with good delicates, and great
(lore of wine. Aflbone as they had taken their repafl, Gerismond (defirous to heare
what hard fortune draue them into thofe bitter extreames) requeded Rosader to dif-
coiufe, (if it wer not anie way preiudiciall vnto him) the caufe of his trauell. Rosa-
der (defirous anie way to fatiffie the courtefie of his fauourable hod, (fird beginning
his exordium with a volley of fighes, and a few luke warme teares) profecuted his
difcoiufe, & told him frO point to point all his fortunes ; how he was the yonged Sonne
of Sir lohn of Bourdeaux^ his name Rosader, how his brother fundrie times had
wronged him, and ladly, how for beating the Sheriffe, and hurting his men, he fled ;
and this olde man (quoth he) whome I fo much loue and honour, is fumamed Adam
Spencer, an old feruant of my fathers, and one (that for his loue) neuer fayled me in
all my midbrtunes. When Gerismond hearde this, bee fell on the necke of Rosader,
and next difcourfmg vnto him, how he was Gerismond their lawfuU King exiled by
Torismond, what familiaritie had euer been betwixt his father Sir lohn of Bourdeaux
and him, how faithful a fubie<fl he lined, and how honourable he died ; promifing (for
his fake) to giue both him and his friend fuch courteous intertainment, as his prefent
edate could minider : and vpon this made him one of his forreders. Rosader feeing
it was the King, craude pardon for his boldneffe, in that he did not doo him due reu-
erence, and humbly gaue him thankes for his fauourable courtefie. Gerismond not
fatiffied yet with newes, began to enquire if he had been lately in the court of Toris-
mond, and whether he had feene his daughter Rosalynde, or no 9 At this, Rosader
fetcht a deep figh, and fhedding manie teares, could not anfwere : yet at lad, gather-
ing his fpirites together, bee reuealed vnto the King, how Rosalynde was baniihed,
and how there was fuch a fimpathie of affe<flions betweene Alinda and her, that diee
chofe rather to be partaker of her exile, than to part fellowfliippe : whereupon the
vnnaturall King banifhed them both; and now they are wandred none knowes
whether, neither could anie leame fince their departure, the place of their abode.
This newes driue the King into a great melancholy, that prefently he arofe from all
the companie, and went into his priuie chamber, fo fecret as the harbor of the woods
would allow him. The companie was all da(ht at thefe tidings, & Rosader and Adam
Spencer hauing fuch opportunitie, went to take their red. Where we leaue them,
and retume againe to Torismond.
The flight of Rosader came to the eares of Torismond, who hearing that Saladyne
was fole heire of the landes of Sir lohn of Bourdeaux^ defirous to poffefle fuch faire
reuenewes, found iud occafion to quarrell with Saladyne, about the wrongs hee prof&ed
to his brother : and therefore difpatching a Herehault, he fent for Saladyne in all poad
had. Who meniailing what the matter diould be, began to examine his owne con-
fdence, wherein he had offended his Highneffe : but imboldened with his innocence.
LODGE'S ROSALYNDE 345
hee boldly went with the Herehault vnto the Court. Where aflbone as bee came, bee
was not admitted into the prefence of the King, but prefently fent to prifon. This
greatly amazed Saladyne, chiefly in that the layler had a (Iraight charge ouer him, to
fee that he (hould be clofe prifoner. Manie pafTionate thoughts came in his head, till
at lail he began to fall into confideration of his former follies, & to meditate with him-
felfe. Leaning his head on his hand, and his elbowe on his knee, full of forrow,
griefe and difquieted paflions, he refolued into thefe tearmes. S aladynes com-
plaint. Unhappie Saladyne, whome folly hath led to thefe miffortunes, and
wanton defires wrapt within the laborinth of thefe calamities. Are not the heauens
doomers of mens deedes 9 And holdes not God a ballaunce in his fifl, to reward
with fauour, and reuenge with iuflice ? Oh Saladyne, the faults of thy youth, as
they were fond, fo were they foule ; and not onely difcouering little
nourture, but blemifhing the excellence of nature. Whelpes of one II, vii, zoa
lytter are euer mod louing, and brothers that are fonnes of one father,
(hould Hue in friendlhip without iarre. Oh Salad3me, fo it (hould bee : but thou hafl
with the deere fedde againil the winde, with the Crab llroue againft the ftreame, and
fought to peruert Nature by vnkindnefle. Rosaders wrongs, the wrongs of Rosader
(Saladyne) cries for reuenge, his youth pleades to God to infli<fl forae penaunce vpon
thee, his vertues are pleas that inforce writs of difpleafure to crofTe thee : thou hafl
highly abufed thy kinde & naturall brother, and the heauens cannot fpare to quite
thee with punifhment. There is no fling to the worme of confcience, no hell to a
minde toucht with guilt. Euerie wrong I offered him (called now to remembrance)
wringeth a drop of bloud from my heart, euerie bad looke, euerie frowne pincheth me
at the quicke, and fayes Saladyne thou hafl fmd againfl Rosader. Be penitent, and
afTigne thy felfe fome penaunce to difcouer thy forrow, and pacifie his wrath.
In the depth of his paillon, he was fent for to the King : who with a looke that
threatned death entertained him, and demaunded of him where his brother was?
Saladyne made aunfwere, that vpon fome ryot made againfl the Sheriffe of the fhyre,
he was fled from Bourdeaux, but he knew not whether. Nay villain (quoth he) I
haue heard of the wrongs thou hafl proffered thy brother fmce the death of thy father,
and by thy meanes haue I lofl a mofl braue and refolute Cheualier. Therefore, in
Iuflice to punifh thee, I fpare thy life for thy fathers fake, but banifh thee for euer
from the Court and Countrey of France, and fee thy departere bee within tenne dayes,
els trufl me thou fhalt loofe thy head, & with that the King flew away in a rage, and
left poore Saladyne greatly perplexed. Who grieuing at his exile, yet determined to
beare it with patience, and in penaunce of his former follies to trauell abroade in
euerie Coail, till hee had founde out his Brother Rosader. With whom now I
begin.
Rosader beeing thus preferred to the place of a Forefler by Gerismond, rooted out
the remembrance of his brothers vnkindnes by continual exercife, trauerfmg the
groues and wilde Forrefls : partly to heare the melodie of the fwcete birdes which
recorded, and partly to fhewe his diligent indeauour in his mailers behalfe. Yet
whatfoeuer he did, or howfoeuer he walked, the liuely Image of Rosalynde remained
in memorie : on her fweete perfe<5lions he fedde his thoughts, proouing himfelfe like
the Eagle a true borne bird, fmce as the one is knowen by beholding the Sunne : fo
was he by regarding excellent beautie. One day among the reft, finding a fit opor*
tunitie and place conuenient, defirous to difcouer his woes to the woodes, hee engraued
with his knife on the barke of a Myrtle tree, this pretie eftimate of his Miflres per-
fe^on.
346 APPENDIX
Sonnetto.
Of all ckast birdes the Phanix doth excell.
Of alljlrong beasts the Lion beares the bell^
Of all fweete flowers the Rofe doth fweetest fmell^
Of all f aire maides my Rofal}'nde is fairest.
Of all pure mettals golde is onely purest y
Of all high trees the Pine hath highest crest ,
Of all foft fweetes J like my Mistres brest.
Of all chast thoughts my Mistres thoughts are rarest.
Of all proud birds the yEgle pleafeth loue.
Of pretie fowles kinde Venus likes the Doue,
Of trees Minenia doth the Oliue loue^
Of all fweete Nimphes I honour Rofalynde.
Of all her gifts her wifedome pleafeth most^
Of all her graces vertuefhe doth boast :
For all thefe giftes my life and ioy is lost.
If Rofalynde proue cruell and vnkinde.
In thefe and fuch like paflions, Rosader did euerie daye eternize the name of his
RoBalynde : and this day efpeciallie when Aliena and Ganimede (inforced by the
heate of the Sunne to feeke for (helter) by good fortune arriued in that place, where
this amorous forreller regidred his melancholy pafTions ; they faw the fodaine change
of his looks, his folded armes, his paffionate iighes ; they heard him often abruptly
call on Rosalynde : who (poore foule) was as hotly burned as himfelfe, but that (he
ihrouded her paines in the cinders of honorable modedie. Whereupon, (gefling him
to be in loue, and according to the nature of their fexe, being pitifull in that behalfe)
they fodainly brake off his melancholy by their approach : and Ganimede (hooke him
out of his dumpes thus.
What newes Forreller 9 hafl thou wounded fome deere, and lofl him
in the fall 9 Care not man for fo fmall a lolTe, thy fees was but the f kinne, IV, H, za
the (houlder, and the homes : tis hunters lucke, to ayme faire and mifle :
and a woodmans fortune to (Irike and yet goe without the game.
Thou art beyond the marke Ganimede, quoth Aliena, his paifions are greater, and
his figbs difcouers more lofle ; perhaps in trauerfmg thefe thickets, he hath feen fome
beautifull Nymph, and is growen amorous. It maye bee fo (quoth Ganimede) for
heere he hath newly ingrauen fome fonnet : come and fee the difcourfe of the For-
eflers poems. Reading the fonnet ouer, and hearing him name Rosalynd, Aliena
k)okt on Ganimede and laught, and Ganimede looking backe on the Forreller, and
feeing it was Rosader blulht, yet thinking to Ihroud all vnder hir pages apparell, (he
boldly returned to Rosader, and began thus.
I pray thee tell me Forreller, what is this Rosalynde, for whom thou pinell away
in fuch paifions/- Is Ihee fome Nymph that waites vpon Dianaes traine, whofe
challitie thou hall dec3rphred in fuch Epethites 9 Or is Ihee fome fiiepheardefle, that
haunts thefe plaines, whofe beautie hath fo bewitched thy fancie, whofe name thoa
fliaddowell in couert rnder the figure of Rosalynde, as Quid did lulia vnder the name
of Corinna ? Or fay mee for footh, iy it that Rosalynde, of whome we Ihephearda
haue heard talke, (hee Forreller, that is the Daughter of Gerismond, that once was
King, and now an Outlaw in this Forrell of Arden. At this Rosader fetcht a deepe
LODGES ROSALYNDE 347
figb, and faid, It is (hee, O gentle fwayne» it is (he, that Saint it is whom I feme, that
Goddefle at whofe Ihrine I doo bend all my deuotions : the moil faired of all faires,
the Phenix of all that fexe, and the paritie of all earthly perfe(5Uon. And why (gen-
tle Forreller) if (he bee fo beautifull and thou fo amorous, is there fuch a difagreement
in thy thoughts ? Happely (he refembleth the rofe, that is fweete but full of prickles ?
or the ferpent Regius that hath fcales as glorious as the Sunne, & a breath as infedlious
as the Aconitutn is deadly? So thy Rosalynde, may be mod amiable, and yet
vnldnde ; full of fauour, and yet froward : coy without wit, and difdainefull without
reafon.
O (hepheard (quoth Rosader) kneweft thou her perfonage graced with the excel-
lence of all perfe<5Uon, beeing a harbour wherein the Graces (hroude their vertues :
thou wouldd not breathe out fuch blafphemie againd the beauteous Rosalynde. She
is a Diamond, bright but not hard, yet of mod chad operation : a pearle fo orient, that
it can be dained with no blemKh : a rofe without prickles, and a Prince(re abfolute
afwell in beautie, as in vertue. But I, vnhappie I, haue let mine eye foare with the
Eagle againd fo bright a Sunne, that I am quite blinde ; I haue with Apollo enam-
oured my felfe of a Daphne, not (as (hee) difdainfull, but farre more chad than
Daphne ; I haue with Ixion laide my loue on luno, and (hall (I feare) embrace
nought but a clowde. Ah (hepheard, I haue reacht at a dar, my defires haue moimted
aboue my degree, & my thoughts aboue my fortunes. I being a peafant haue ventred
to gaze on a Prince(re, whofe honors are too high to vouchfafe fuch bafe loues.
Why Forreder (quoth Ganimede) comfort thy felfe : be blythe and frolicke man,
Loue fowfeth as low as (he foareth high : Cupide (hootes at a ragge a(roone as at a
roabe, and Venus eye that was fo curious fparkled fauor on pole footed Vulcan.
Feare not man, womens lookes are not tied to dignities feathers, nor make they
curious edeeme, where the done is found, but what is the vertue. Feare not For-
reder, faint heart neuer wonne faire Ladie. But where Hues Rosalynde now, at the
Coiut?
Oh no (quoth Rosader) (he Hues I knowe not where, and that is my forrow ; ban-
i(ht by Torismond, and that is my hell : for might I but find her facred perfonage, &
plead before the barre of her pitie the plaint of my pa(rions, hope tells mee (hee would
grace me with fome fauour; and that woulde fufBce as a recompence of all my former
miferies. Much haue I heard of thy Midres excellence, and I know Forreder thou
cand defcribe her at the full, as one that had furuayd all her parts with a curious eye :
then doo me that fauour, to tell mee what her perfe<5tions bee. That I will (quoth
Rosader) for I glorie to make all eares wonder at my Midres excellence. And with
that he pulde a paper forth his bofome, wherein he read this.
Rofalyndes defcription.
Like to the cleere in highest /pheare
Where ail imperiall glorie Jhines^
Of felfe fame colour is her haire
Whether vnfolded or in ttoines :
Heigh ho faire Rofalynde.
Her eyes are Saphiresfet infnow^
Refining hectuen by euerie winhe;
The Gods doo feare when as they ghw^
And I doo tremble when Ithinke,
Heigh hOt would Jke were mini^
348 APPENDIX
Her cheekes are like the blujhing clowde
That beautefies K\XKin>it& face^
Or like the/liner crimfon Jhrawde
That Y)ioih\i& /miling lookes doth grace :
Heigh ho^faire Rofalynde.
Her lippes are like two budded ro/es^
Whom rankes of lillies neighbour nie^ III, ii, 97
Within which bounds Jhe balme inclo/es^
Apt to intice a Deitie :
Heigh ho, would Jhe were mine.
Her necke like to ajlately towre.
Where Loue him/elf e impri/oned lies^
To watch for glaunces euerie howre,
From her deuine and f acred eyes.
Heigh ho, f aire Rofalynde.
Her pappes are centers of delight.
Her pappes are orbes of heauenlie frame.
Where Nature moldes the deaw of light.
To feede perfeiflion with the fame :
Heigh ho, would Jhe were mine.
With orient pear le, with rubie red.
With marble white, withfaphire blew.
Her bodie euerie way is fed;
Yet f oft in touch, andfweete in view :
Heigh ho, f aire Rofalynde.
Nature her felfe herfhape admires.
The Gods are wounded in her fight.
And Loueforfakes his heauenly fires.
And at her eyes his brand doth light :
Heigh ho, would fhe were mine.
Then mufe not Nymphes though I bemoane
The abfence of f aire Rofalynde :
Since for herfaire there is fairer none, * ^ ^
Nor for her vertuesfo deuine.
Heigh ho f aire Rofalynde :
Heigh ho my heart, would God thcUfhe were mine,
Perijt, quia deperibat
Beleeue me (quoth Ganimede) either the Forrefler is an exquifite painter, or Rosa*
lynde faire aboue wonder : fo it makes me blufli, to heare bow women Ihould be fo
excellent, and pages fo ynperfe(5l.
Rosader beholding her eamedly, anfwered thus. Truly (gentle page) thou haft
caufe to complaine thee, wert thou the fubilance : but refembling the (hadow, content
thy felfe : for it is excellence inough to be like the excellence of Nature. He hath
aunfwered you Ganimede (quoth Aliena) it is inough for pages to waite on beautifull
Ladies, & not to be beautifull themfelues. Oh Miflres (quoth Ganimede) holde you
your peace, for you are partiall : Who knowes not, but that all women haue defire to
tie fouereinto their peticoats, and afcribe beautle to themfelues, where if boyes might
LODGES ROSALYNDE 349
put on their gannents, perhaps they would prooue as comely ; if not as comely, it may
be more curteous. But tell mee Forreiler, (and with that (hee tumde to Rosader)
vnder whom maintained thou thy walke <i Gentle fwaine vnder the King of Outlawes
faid he, the vnfortunate Gerismond: who hauing loft his kingdome, crowneth his
thoughts with content, accompting it better to gouem among poore men in peace, than
great men in daunger. But hafl thou not faid (he, (hauing fo melancholie oppor-
tunities as this Forred affoordeth thee) written more Sonnets in commendations of thy
Mifb%s ? I haue gentle Swayne quoth he, but they be not about me : to morrow by
dawne of daye, if your ilockes feede in thefe padures, I will bring them you : wherein
you (hall reade my pafdons, whiled I feele them ; iudge my patience when you read it :
till when I bid farewell. So giuing both Ganimede and Aliena a gentle good night,
he reforted to his lodge : leaning Aliena and Ganimede to their prittle prattle. So Gani-
mede (faid Aliena, the Forreder beeing gone) you are mightely beloued, men make dit-
ties in your praife, fpend fighes for your fake, make an Idoll of your beautie : beleeue
me it greeues mee not a little, to fee the poore man fo penfiue, and you fo pittile(re.
Ah Aliena (quoth (he) be not peremptorie in your iudgments, I heare Rosalynde
praifde as I am Ganimede, but were I Rosalynde, I could anfwere the Forreder : If
hee moume for loue, there are medicines for loue : Rosalynde cannot be faire and
vnkinde. And fo Madame you fee it is time to folde our (lockes, or els Coridon will
fix)wne, and fay you will neuer prooue good hufwife. With that they put their Sheepe
into the coates, and went home to her friend Coridons cottage, Aliena as merrie as
might be, that (he was thus in the companie of her Rosalynde : but (hee poore foule,
that had Loue her load darre, and her thoughts fet on (ire with the (lame of fancie,
coulde take no red, but being alone beganne to confider what pa(rionate penaunce
poore Rosader was enioyned to by loue and fortune : that at lad (he fell into this
humour with her felfe. R ofalynde pafsionate alon e,. Ah Rosalynde,
how the Fates haue fet downe in their Synode to make thee vnhappie : for when
Fortune hath done her word, then Loue comes in to begin a new tragedie ; (hee feekes
to lodge her fonne in thine eyes, and to kindle her fires in thy bofome. Beware fonde
girle, he is an vnruly gued to harboiu* ; for cutting in by intreats he will not be thrud
out by force, and her lires are fed with fuch fuell, as no water is able to quench.
Seed thou not how Venus feekes to wrap thee in her Laborynth, wherein is pleafure
at the entrance, but within, forrowes, cares, and difcontent : (he is a Syren, (lop thine
cares at her melodie ; and a Bafilifcke, (hut thine e3res, and gaze not at her lead thou
peri(h. Thou art nowe placed in the Countrey content, where are heauenly thoughts,
and meane defires : in thofe Lawnes where thy (lockes feede Diana haunts : bee as
her Nymphes, chade, and enemie to Loue : for there is no greater honour to a Maide,
than to accompt of fancie, as a mortall foe to their fexe. Daphne that bonny wench
was not toumed into a Bay tree, as the Poets faine : but for her chaditie her fame was
immortall, refembling the Lawrell that is euer greene. Follow thou her deps Rosa-
lynde, and the rather, for that thou art an exile, and bani(hed (rom the Coiut : whofe
didre(re, as it is appeafed with patience, fo it woulde bee renewed with amorous paf-
fions. Haue minde on thy forepa(red fortunes, feare the word, and intangle not thy
felfe with prefent fancies : lead louing in had thou repent thee at leafure. Ah but
yet Rosalynde, it is Rosader that courts thee ; one, who as hee is beautifuU, fo he is
vertuous, and harboureth in his minde as manie good qualities, as his face is (hadowed
with gracious fauours : and therefore Rosalynde doope to Loue, lead beeing either too
coy, or too cruell, Venus waxe wrothe, and plague thee with the reward of difdaine.
Rosalynde thus paflionate, was wakened from her dumpes by Aliena, who faide it
350 APPENDIX
was time to goe to bedde. Condon fwore that was true, for Charles Wayne was rifen
in the North. Whereuppon each taking leaue of other, went to their red all, but the
poore Rosalynde : who was fo full of pafTions, that ihee coulde not poiTefTe anie con-
tent. Well, leaning her to her Ixoken flumbeis, expe<5l what was perfourmed by them
the nexte morning.
The Sunne was no fooner flept from the bed of Aurora, but Aliena was wakened
by Ganimede : who refllefTe all night had tofied in her paflions : faying it was then
time to goe to the field to vnfold their fheepe. Aliena (that fpied where the hare was
by the hounds, and could fee day at a little hole) thought to be pleafant with her
Ganimede, & therfore replied thus ; What wanton ? the Sun is but new vp, & as yet
Iris riches lies folded in the bofome of Flora, Phoebus hath not dried vp the pearled
deaw, & fo long Coridon hath taught me, it is not fit to lead the (heepe abroad : leafl
the deaw being vnwholefome, they get the rot : but now fee I the old prouerbe true,
he is in hafl whom the diuel driues, & where loue prickes forward, there is no worfe
death than delay. Ah my good page, is there fancie in thine eie, and pafTions in thy
heart 9 What, had thou wrapt loue in thy looks 9 and fet all thy thoughts on fire by
affe(5Uon ^ I tell thee, it is a flame as hard to be quencht as that of aetna. But
nature mud haue her courfe, womens eyes haue facultie attnuftiue like the ieat, and
retentiue like the diamond : they dallie in the delight of faire obie<fls, til gazing on
the Panthers beautifiill fkinne, repenting experience tell them hee hath a deuouring
paunch. Come on (quoth Ganimede) this fermon of yours is but a fubtiltie to lie dill
a bed, becaufe either you thinke the morning colde, or els I being gone, you would
deale a nappe : this (hide carries no paulme, and therefore vp and away. And "for
Loue let me alone. He whip him away with nettles, and fet difdaine as a charme to
withdand his forces : and therefore looke you to your felfe, be not too bolde, for
Venus can make you bend ; nor too coy, for Cupid hath a piercing dart, that will
make you crie Peccaui. And that is it (quoth Aliena) that hath rayfed you fo early
this morning. And with that (he (lipt on her peticoate, and dart vp : and affoone as
(he had made her readie, and taken her breakfad, away goe thefe two with their
bagge and bottles to the field, in more pleafant content of mind, than euer they were
in the Court of Torismond. They came no fooner nigh the foldes, but they might
fee where their difcontented Forreder was walking in his melancholy. AfToone as
Aliena faw him, (he fmiled, and fayd to Ganimede ; wipe your eyes fweeting : for
yonder is your fweet hart this morning in deepe praiers no doubt to Venus, that (he
may make you as pitifull as hee is paflionate. Come on Ganimede, I pray thee lets
haue a little fport with him. Content (quoth Ganimede) and with that, to waken
him out of his deepe memento^ he began thus.
Forreder, good fortune to thy thoughts, and eafe to thy pallions, what makes you
(b early abroad this mome, in cOtemplation, no doubt of your Rosalynde. Take
heede Foreder, dep not too farre, the foord may be deepe, and you (lip ouer the
(hooes ; I tell thee, flies haue their fpleene, the ants choller, the lead haires (hadowes,
& the fmalled loues great defires. Tis good (Forreder) to loue, but not to ouerloue :
lead in louing her that likes not thee, thou folde thy felfe in an endle(re Laborynth.
Rosader feeing the fayre (hephearde(re and her pretie fwayne, in whofe companie he
hee felt the greated eafe of his care, he returned them a falute on this manner.
Gentle (hepheards, all haile, and as healthfull bee your flockes, as you happie m
content. Loue is redlelTe, and my bedde is but the cell of my bane, in that there I
finde bufie thoughtes and broken (lumbers : heere (although euerie where paflfionate)
yet I brooke loue with more patience, in that euerie obie<5l feedes mine eye with
LODGES ROSALYNDE 351
▼arietie of fancies ; when I looke on Floraes beauteous tapefbie, checkered with the
pride of all her treafure, I call to minde the fayre face of Rosalynde, whofe heauenly
hiew exceedes the Rofe and the Lilly in their highefl excellence ; the brightnefle of
Phoebus (hine, puts me in minde to thinke of the fparkling flames that flew from her
eies, and fet my heart fiHl on fire; the fweet harmonic of the birds, puts me in
remembrance of the rare melodic of her voyce, which like the Syren enchaunteth the
cares of the hearer. Thus in contemplation I falue my forrowes, with applying the
perfe<5lion of euerie obie(fl to the excellence of her qualities.
She is much beholding vnto 3rou (quoth Aliena) and fo much, that I haue oft
wifht with my felfe, that if I (hould euer prooue as amorous as Oenone, I might flnde
as faith full a Paris as your felfe.
How fay you by this Item Forefler, (quoth Ganimede) the faire fhepheardefle
fauours you, who is miflrefle of fo manie flockes. Leaue of man the fuppofition of
Rosalynds loue, when as watching at her, you roue beyond the Moone ; and cafl
your lookes vpon my Miflres, who no doubt is as faire though not fo royall ; one birde
in the hande is woorth two in the wood ; better poflefTe the loue of Aliena, than catch
friuououfly at the (hadow of Rosalynde.
lie tell thee boy (quoth Ganimede) fo is my fancie fixed on my Rosalynde, that
were thy Midres as faire as Lseda or Danae, whome loue courted in tranfTormed
fhapes, mine eyes would not vouch to intertaine their beauties :' and fo hath Loue
lockt mee in her perfe<5Uons, that I had rather onely contemplate in her beauties,
than abfolutely polTefle the excellence of anie other. Venus is too blame (Forrefler)
if hauing fo true a feruant of you, (he reward you not with Rosalynde, if Rosalynde
were more fairer than her felfe. But leaning this prattle, nowe He put you in minde
of your promife, about thofe fonnets which you faide were at home in your lodge. I
haue them about me (quoth Rosader) let vs fit downe, and then you (hall heare what
a Poeticall furie Loue will infufe into a man: with that they fate downe vpon a
greene bank, fhadowed with figge trees, and Rosader, fetching a deepe figh read
them this Sonnet.
Rofaders Sonnet.
Inforrmves cell I laid me downe tojleepe :
But waking woes were iealous of mine eyes.
They made them watch ^ and bend themselues to weepe :
But weeping teares their want could notfuffi.ce : II, iv, 53
Yetfincefor her they wept who guides my harty
They weeping f mile y and triumph in their f mart.
Of thefe my teares a fountaine fiercely fprings.
Where Venus baynes her felfe incenst with laue\
Where Cupid bowfeth his faire feathred wings ,
But I behold whcU paines I mufl approue.
Care drinkes it drie : but when on her J thinke^
Loue makes me weepe it full vnto the brinke,
Meane while my fighes yeeld truce vnto my teares^
By them the windes increast and fiercely blow :
Yet when J figh the flame more plaint appeares^
And by their force with greater power doth glow :
Amids thefe paineSy all Phoenix like I thriue^
Since Loue that yeelds me deaths may life reuiue»
Rofader en efperance.
352 APPENDIX
Now furely Forreiler (quoth Aliena) when thou madefl this fonnet, thou wert in
fome amorous quandarie, neither too fearfully as defpairing of thy Miflres fauours :
nor too gleefome, as hoping in thy fortunes. I can fmile (quoth Ganimede) at the
Sonettoes, Canzones, Madrigales, rounds and roundelayes, that thefe penfiue patients
powre out, when their eyes are more ful of wantonneffe, than their hearts of palTions.
Then, as the fifliers put the fweetefl baite to the faireft fifli : fo thefe Ouidians (hold-
ing Amo in their tongues, when their thoughtes come at hap hazarde, write that they
be wrapt in an endlefle laborynth of forrow, when walking in the large leas of lib-
ertie, they onely haue their humours in their inckpot. If they finde women fo fond,
that they will with fuch painted lures come to theyr lud, then they triumph till they
be full gorgde with pleafures : and then fly they away (like ramage kytes) to their
owne content, leaning the tame foole their Miflres full of fancie, yet without euer a
feather. If they mifle (as dealing with fome wary wanton, that wats not fuch a one
as themfelues, but fpies their fubtiltie) they ende their amors with a few fained fighes :
and fo there excufe is, their Miflres is cruell, and they fmoother pafTions with patience.
Such gentle Forrefler we may deeme you to bee, that rather palTe away the time heere
in thefe Woods with writing amorets, than to bee deepely enamoured (as you faye) of
your Rosalynde. If you bee fuch a one, then I pray God, when you thinke your for-
tunes at the highefl, and your defires to bee mod excellent, then that you may with
Ixion embrace luno in a clowde, and haue nothing but a marble Miflres to releafe
your martyrdome : but if you be true and truflie, eypaind and hart ficke, then accurfed
bee Rosalynde if (hee prooue cruell : for Forrefter (I flatter not) thou art woorthie of
as faire as fhee. Aliena fpying the ilorme by the winde, fmiled to fee how Ganimedo
flew to the flfl without anie call : but Rosader who tooke him flat for a fhepheardi
Swayne made him this anfwere.
Trufl me Swayne (quoth Rosader) but my Canzon was written in no fuch humour t
for mine eye & my heart are relatiues, the one drawing fancie by fight, the other enter-
taining her by forrowe. If thou fawefl my Rosalynde, with what beauties Nature
hath fauotu-ed her, with what perfe(5lion the heauens hath graced her, with what quali-
ties the Gods haue endued her ; then wouldfl thou fay, there is none fo fickle that
could be fleeting vnto her. If (he had ben Aeneas Dido, had Venus and luno both
fcolded him from Carthage^ yet her excellence defpite of them, woulde haue detained
him at Tyre. If Phil lis had been as beauteous, or Ariadne as vertuous, or both as
honourable and excellent as (he ; neither had the Fhilbert tree forrowed in the death
of defpairing Phillis, nor the (larres haue been graced with Ariadne : but Demophoon
and Theseus had been truflie to their Paragons. I will tell thee Swaine, if with a
deepe infight thou couldfl pearce into the fecrete of my loues, and fee what deepe
impreffions of her Idea affe<5lion hath made in my heart : then wouldd thou confefTe
I were pafTmg palTionate, and no lefTe indued with admirable patience. Why (quoth
Aliena) needes there patience in Loue ? Or els in nothing (quoth Rosader) for it is
a reflleffe foare, that hath no eafe, a cankar that flill frets, a difeafe that taketh awaie
all hope of fleepe. If then fo manie forrowes, fodain ioies, momentarie pleafures,
continuall feares, daylie griefes, and nightly woes be found in Loue, then is not he to
be accompted patient, that fmoothers all thefe pafTions with filence ? Thou fpeakeft
by experience (quoth Ganimede) and therefore wee holde all thy words for Axiomes :
but is Loue fuch a lingring maladie ? It is (quoth he) either extreame or meane,
according to the minde of the partie that entertaines it : for as the weedes growe
longer vntouchte than the pretie flowers, and the flint lies fafe in the quarrie, when
the Emeraulde is fuffering the Lapidaries toole : fo meane men are freeed from Venus
LODGES ROSALYNDE 353
iniuries, when kings are enu3rroned with a laborynth of her cares. The whiter the
Lawne is, the deeper is the moale, the more purer the chryfolite the fooner flained ;
and fuch as haue their hearts fill of honour, haue their loues full of the greatefl for-
rowes. But in whomfoeuer (quoth Rosader) he fixeth his dart, hee neuer leaueth to
affault him, till either hee hath wonne him to follie or fancie : for as the Moone neuer
goes without the (larre Lunisequa, fo a Louer neuer goeth without the vnrefl of his
thoughts. For proofs you (hall heare another fancie of my making. Now doo gentle
Forreller (quoth Ganimede) and with that he read ouer this Sonetto,
Rofaders fecond Sonetto.
Turm I my lookes vnto the Skies ^
Loue with his arrowes wounds mine eies :
Jf fo I ga%e vpon the ground^
Loue then in euerie flower is found.
Search J the fhade toflie my paine^
He meetes me in the fhade againe :
Wend J to walke in fecrete grotie,
Euen there I meete with f acred Loue,
Jf fo I bayne me in the fpring^
Euen on the brinke I heare himfmg:
Jf fo I meditate alone^
lie will be partner of my moane,
Jf fo I moume, he weepes with mee.
And where I am, there will he bee.
When as I talke of Rofalynde,
The God from coyneffe waxeth kinde,
Andfeemes in f elf e fame flames tofrie,
Becaufe he loues as well as /.
Sweete Ko{a]ynde for pitie rue.
For why, then Loue I am more true :
He if he fpeede will quicklieflie.
But in thy loue I Hue and die.
How like you this Sonnet, quoth Rosader ? Marrie quoth Ganimede, for the pennA
well, for the paflion ill : for as I praife the one ; I pitie the other, in that thou fhould-
e(l himt after a clowde, and loue either without rewarde or regarde. Tis not her
frowardnefle, quoth Rosader, but my hard fortunes, whofe Deilenies haue crofl me
with her abfence : for did (hee feele my loues, (he would not let me linger in thefe
forrowes. Women, as they are faire, fo they refpedl faith, and edimate more (if they
be honourable) the wil than the wealth, hauing loyaltie the obie<5l whereat they ayme
their fancies. But leaning off thefe interparleyes, you (hall heare my laft Sonnetto,
and then you haue heard all my Poetrie: and with that he (ight out this.
Rofaders third Sonnet
Of vertuous Loue my felfe may boast alone.
Since nofuspe^ my feruice may attaint:
For perfedl faire fhee is the onely one. III, ii, 93
Whom I esteemefor my beloued Saint:
Thus for my faith J onely beare the bell.
And for her faire fhe onely doth excell,
23
354 APPENDIX
Then let fond VtSxzxf^ Jhrcwde his Lawraes prai/e^
And Taflb ceafe to publijh his affe^ \
Since mine the faith confirmde at all ajfaiesy
And hers the fair e^ which all men doo respeifl : III, ii, 93
My lines her f aire ^ her f aire my faith affures\
Thus J by Loue^ and Loue by me endures.
Thus quoth Rosader, heere is an ende of my Poems, but for all this no releafe of •
my paflions : fo that I refemble him, that in the deapth of his diflreffe hath none but
the Eccho to aunfwere him. Ganimede pittying her Rosader, thinking to driue him
out of this amorous melancholic, faid, that now the Sunne was in his Meridionall heat,
and that it was high noone, therefore we (hepheards fay, tis time to goe to dinner : for
the Sunne and our flomackes, are Shepheards dialls. Therefore For-
reiler, if thou wilt take fuch fare as comes out of our homely fcrippes. III, ii, i6z
welcome (hall aunfwere whatfoeuer thou wantft in delicates. Aliena
tooke the entertainment by the ende, and told Rosader he (hould be her gued. He
thankt them heartely, and fate with them downe to dinner : where they had fuch cates
as Countrey flate did allow them, fawd with fuch content, and fuch fweete prattle, as
it fcemed farre more fweete, than all their G)urtly iunckets.
Aflbone as they had taken their repad, Rosader giuing them thankes for his good
cheere, would haue been gone : but Ganimede, that was loath to let him pafle out of
her prefence, began thus ; Nay Forrefter quoth he, if thy bufmes be not the greater,
feeing thou faid thou art fo deeply in loue, let me fee how thou cand wooe : I will
reprefent Rosalynde, and thou (halt bee as thou art Rosader ; fee in fome amorous
Eglogue, how if Rosalynde were prefent, how thou couldd court her : and while we
fmg of Loue, Aliena Ihall tune her pipe, and playe vs melodie. G)ntent, quoth Rosa-
der. And Aliena, Ihee to (hew her willingnefle, drewe foorth a recorder, and began
to winde it Then the louing Forreder began thus.
The wooing Eglogue betwixt Rofalynde and Rofader.
Rofader.
J pray thee Nymph by all the working words^
By all the teares andfighes that Loners know^
Or what or thoughts or faltring tongue affords^
J craue for mine in ripping vp my woe,
Sweete Rofalynde my loue {would God my loue)
My life {would God my life) ay pitie me ;
Thy lips are kindCy and humble like the doue.
And but with beautie pitie will not be.
Looke on mine eyes made red with rufull teares^
From whence the raine of true remorfe defcendeth^
All pale in lookes, and J though young in yeares^
And nought but loue or death my dales befrendeth.
Oh let noflormie rigour knit thy browes.
Which Loue appointed for his mercie feate :
The tallest tree by Boreas breath it boioeSy
The yron yeelds with hammer ^ and to heate.
Oh Rofalynde then be thou pittifuU,
For Rofalynde is onely beautifuU,
LODGES ROSALYNDE 555
Rofalynde.
Lotus wantons arme their trattrous futes with tearts^
With voweSf with ocUhes^ with tookes, withjhowers of golden
But when thefruite of their affetfls appeares,
Thefimple heart by fubtill fleights isfolde.
Thus fuckes the yeelding eare the poyfoned bait^ ,
Thnsfeedes the hart vpon his endJefse harmes.
Thus glut the thoughts themfelues onfelfe deceipt.
Thus b/inde the eyes their fight by fubtill charmes.
The huely loohes, thefighs that florme fo fore^
The deaw of deepe diffembled doubleneffe :
Thefe may attempt^ but are of power no more.
Where Uautie leanes to wit and foothfastneffe.
Oh Rofader then be thou wUtifull,
For VjoiaXyn^t f comes foolifh pitifitll,
Rofader.
J pray thee Rofalynde by thofefweete eyes
Thatflaine the Sunne infhine, the mome in eleare\
By thofefweete cheekes where Loue incamped lies
To kifse the rofes of the fpringing year e,
J tempt thee Rofalynde by ruthfull plaints ^
Notfeafoned with deceipt or fraudfull guile ^
Butfirme in paine^ farre more than tongue dipaints^
Sweete Nymph be kinde^ and grace me with a f mile.
So may the heauens preferue from hurtfuUfood
Thy harmeleffeflockes^fo may the Summer yeeld
The pride of all her riches and her good^
To fat thyfheepe {the Citizens of field).
Oh leaue to arme thy louely browes with f come :
The birds their beake, the Lion hath his taile^
And Louers nought butfighes and bitter mourm^
The fpotleffe fort of faneie to aJTaile.
Oh Rofalynde then be thou pitifull :
For Rofalynde tr cnely beautifitll,
Rofalynde.
The kardnedfieele by fire is brought in frame :
Rofader.
And Rofalynde my loue than anie wooll more fofier\
Andfhall notfighes her lender heart in/lame f
Rofaljmde.
Were Louers true, maides would beleeue them ofter,
Rofader.
Truth and regard^ and honour guide wty Unu^
Rofalynde.
Faine would I trusty kut yet I dare mot trig.
Rofader.
Oh pitie mefweete Nymph^ and doo btUprmm.
356 APPENDIX
Rofalynde.
I would re/lsty but yet I know not why.
Rofader.
Oh Rofalynde be kinder/or times will change^
Thy lookes ay nill be f aire as now they be^
• Thine age from beautie may thy lookes eftrangt:
Ah yeelde in timefweete Nymph^ and pitie me,
Rofalynde.
Oh Rofalynde thou must be pitifull.
For Rofader is yong and beauti/ull,
Rofader.
Oh gaine more great than kingdomes, or a crarwtu^
Rofalynde.
Oh trust betraid if Rofader abufe me,
Rofader.
First let the heauens conspire to pull me downe^
And heauen and earth as abiedl quite refu/e me.
Let forrowes ftreame about my hatefull bower ^
And restlejfe horror hatch ttrithin my breast.
Let beauties eye affii/l me with a lowre^
Let deepe despaire pur/ue me without rest;
Ere Rofalynde my loyaltie disproue.
Ere Rofalynde accu/e me for vnkinde,
Rofalynde.
Then Rofalynde will grace thee with her loue.
Then Rofaljmde will haue theeflill in minde,
Rofader.
Then let me triumph more than Tithons deere.
Since Rofalynde will Rofader respeifl :
Then let my face exile hisforrie cheere,
Andfrolicke in the comfort of affe^ :
And fay that Rofaljmde is onely pitifully
Since Rofalynde is onely beautifull.
When thus they had finifhed their courting Eglogue in fuch a familiar claufe, Gani«
mede as Augure of fome good fortunes to light vpon their affeiStions, beganue to be
thus pleafant ; How now Forrefler, haue I not 6tted your turn ^ Haue I not plaide the
woman handfomely, and fhewed my felfe as coy in graunts, as courteous in defires»
and been as full of fufpition, as men of flatterie 9 And yet to falue all, iumpt I not
all yp with the fweete vnion of loue ? Did not Rosalynde content her Rosader ? The
Forrefler at this fmiling, fhooke his head, and folding his armes made this merrie
replie.
Truth gentle Swaine, Rosader hath his Rosalynde : but as Ixion had luno, who
thinking to poffeffe a goddeffe, onely imbraced a clowde : in thefe imaginarie fruitions
of fancie, I refemble the birds that fed themfelues with Zeuxis painted grapes ; but
they grewe fo leane with pecking at fhaddowes, that they were glad with Aesops
Cocke to fcrape for a barley comell : fo fareth it with me, who to feede my felfe with
the hope of my Miilres fauouis, footh my felf in thy futes, and onely in conceipt reape
LODGE'S ROSALYNDE 357
a wifhed for content : but if my food be no better than fuch amorous dreames, Venus
at the yeares cnde, (hall finde mee but a leane louer. Yet doo I take thefe follies for
high fortunes, and hope thefe fained affecfUons doo deuine fome unfained ende of
enfuing fancies. And thereupon (quoth Aliena) He play the prieft, from this day
forth Ganimede (hall call thee huf band, and thou (halt call Ganimede wife, and fo
weele haue a marriage. Content (quoth Rosader) and laught. Content (quoth Gani-
mede) and changed as redde as a rofe : and fo with a fmile and a blufh, they made
vp this ielling match, that after prooude to a marriage in earned; Rosader full little
thinking he had wooed and wonne his Rosalynde. But all was well, hope is a fwecte
firing to harpe on : and therefore let the Forreder a while (hape himfelfe to his (had-
dow, and tarrie Fortunes leafure, till (he may make a Metamorphofis 6t for his pur-
pofe. I digreffe, and therefore to Aliena : who faid, the wedding was not worth a
pinne, vnless there were fome cheere, nor that bargaine well made that was not (Iriken
vp with a cuppe of wine : and therefore (he wild Ganimede to fet out fuch cates as
they had, and to drawe out her bottle, charging the Forreder as hee had imagined his
loues, fo to conccipt thefe cates to be a mod fumptuous banquet, and to take a Mazer
of wine and to drinke to his Rosalynde : which Rosader did ; and fo they pa(red
awaye the day in manie pleafant deuices. Till at lad Aliena perceiued time would
tarrie no man, and that the Sunne waxed verie lowe, readie to fet : which made her
(horten their amorous prattle, and ende the Banquet with a fre(h Carrowfe ; which
done, they all three rofe, and Aliena broke off thus.
Now Forreder, Phcebus that all this while hath been partaker of our fports ; feeing
euerie Woodman more fortunate in his loues, than hee in his fancies ; feeing thou had
wonne Rosalynde, when he could not wooe Daphne, hides his head for (hame, and
bids vs adiew in a clowde ; our (heep they poore wantons wander towards their foldes,
as taught by Nature their due times of red : which tells vs Forreder, we mud depart.
Marrie, though there were a marriage, yet I mud carrie (this night) the Bryde with
me, and to morrow morning if you meete vs heere. He promife to deliuer her as good
a maide as I (inde her. Content quoth Rosader, tis enough for me in the night to
dreame on loue, that in the day am fo fond to doate on loue : and fo till to morrow
you to your Foldes, and I will to my Lodge ; and thus the Forreder and they parted.
He was no fooner gone, but Aliena and Ganimede went and folded their flockes, and
taking vp their hookes, their bagges, and their bottles, hied homeward. By the waye,
Aliena to make the time feeme (hort, began to prattle with Ganimede thus ; I haue
heard them fay, that what the Fates forepoint, that Fortune pricketh downe with a
period, that the darres are dicklers in Venus Court, and defire hangs at the heele of
Dedenie ; if it be fo, then by all probable conie(5lures, this match will be a marriage :
for if Augurifme be authenticall, or the deuines doomes principles, it cannot bee but
fuch a (haddowe portends the i(rue of a fubdaunce, for to that ende did the Gods force
the conceipt of this Eglogue, that they might difcouer the enfuing confent of your
affeiftions : fo that eare it bee long, I hope (in earned) to daunce at your Wedding.
Tu(h (quoth Ganimede) al is not malte that is cad on the kill, there goes more
words to a bargaine than one, loue feeles no footing in the aire, and fancie holdes it
flipperie harbour to nedle in the tongue : the match is not yet fo furely made but he
may mi(re of his market ; but if Fortune be his friend, I will not be his foe : and fo
I pray you (gentle MidrefTe Aliena) take it. I take all things well (quoth (hee) that
is your content, and am glad Rosader is yours : for now I hope your thoughts will be
at quiet ; your eye that euer looked at Loue, will nowe lende a glaunce on your
Lambes : and then they will proue more buxfome and you more blythe, for the eyes
358 APPENDIX
of the Maftcr feedes the Cattle. As thus they were in chat, they fpied olde Condon
where hee came plodding to meete them : who tolde them fupper was readie : which
newes made them fpeede them home. Where we leaue them to the next morrow,
and retume to Saladyne.
All this while did poore Saladjme (bani(hed from Bourdeaux and the Court of
France by Torismond) wander vp and downe in the Forreft of Arden^ thinking to
get to Liansy and fo trauell through Germanie into Italy : but the Forreft being full
of by-pathes, and he vnfkilfuU of the Countrey coaft, flipt out of the way, and
chaunced vp into the Defart, not farre from the place where Gerismond
was, and his brother Rosader. Saladjme wearie with wandring vp and IV, iii, Z09
downe, and hungrie with long fafting ; finding a little caue by the fide
of a thicket, eating fuch frute as the Forreft did affoord, and contenting himfelfe with
fuch drinke as Natiu% had prouided, and thirft made delicate, after his repaft he fell
in a dead fleepe. As thus he lay, a hungrie Lion came hunting downe the edge of
the groue for pray, and efpying Saladyne began to ceaze vpon him : but feeing he lay
ftill without anie motion, he left to touch him, for that Lions hate to
pray on dead carkalTes : and yet defirous to haue fome foode, the Lion IV, iii, 123
lay downe and watcht to fee if hee would ftirre. While thus Saladyne
flept fecure, fortune that was careful ouer her champion, began to fmile, and brought
it fo to palTe, that Rosader (hauing ftriken a Deere that but lightly hurt fled through
the thicket) came pacing downe by the groue with a Boare fpeare in his hand in
great haft, he fpied where a man lay a fleepe, and a Lion faft by him : amazed at
this fight, as hee flood gazing, his nofe on the fodaine bled ; which made him con-
ieclure it was fome friend of his. Whereuppon drawing more nigh, hee might eafely
difceme his vifage, and perceiued by his phifnomie that it was his brother Saladyne :
which draue Rosader into a deepe pafTion, as a man perplexed at the fight of fo vnex-
pedled a chaunce, maruelling what fhoulde driue his brother to trauerfe thofe fecrete
Defarts without anie companie in fuch diftreffe and forlome fort. But the prefent
time craued no fuch doubting ambages : for either he muft refolue to hazard his life
for his reliefe, or els fteale awaye, and leaue him to the crueltie of the Lion. In
which doubt, he thus briefly debated with himfelfe. R ofaders meditation.
Now Rosader, Fortune that long hath whipt thee with nettles, meanes to falue
thee with rofes ; and hauing croft thee with manie frownes, now fhe prefents thee
with the brightneffe of her fauours. Thou that didft count thy felfe the moft dif*
treffed of all men, maift accompt thy felfe now the moft fortunate amongft men ; if
fortune can make men happie, or fweete reuenge be wrapt in a pleafmg content.
Thou feeft Saladyne thine enemie, the worker of thy miffortunes, and the efHcient
caufe of thine exile, fubie<5l to the crueltie of a mercileffe Lion : brought into this
miferie by the Gods, that they might feeme iuft in reuenging his rigour, and thy
iniuries. Seeft thou not how the flarres are in a fauourable afpedl, the plannets in
fome pleafmg coniundlion, the fates agreeable to thy thoughtes, and the deftenies per-
fourmers of thy defires, in that Saladyne fhall die, and thou free of his bloud ; he
receiue meede for his amiffe, and thou ere<5l his Tombe with innocent hands. Now
Rosader fhalt thou retume to Bourdeaux ^ and enioye thy pofTeflions by birth, and his
reuenewes by inheritaunce: now maift thou triumph in loue, and hang Fortunes
Altares with garlandes. For when Rosalynde heares of thy wealth, it will make her
loue thee more willingly : for womens eyes are made of Chrifecoll, that is euer vnper-
fecfl vnlefTe tempred with golde : and Jupiter fooncft enioyed Danae, becaufe he came
to her in fo rich a fhower. Thus fhall this Lion (Rosader) end the life of a mifer*
LODGES ROSALYNDE 359
able man, and from diftrefle raife thee to bee moil fortunate. And with that cafling
his Boare fpeare on his neck, away he began to trudge. But hee had not (lept backe
two or three paces, but a new motion (Iroke him to the very hart, that refling his
Boare fpeare againft his breafl, hee fell into this paHionate humour.
Ah Rosader, wert thou the fonne of Sir lohn of Bourdeaux^ whofe vertues ex-
ceeded his valour, and yet the mod hardiefl Knight in all Europe? Should the
honour of the father (hine in the a<5lions of the fonne S and wilt thou difhonour thy
parentage, in forgetting the nature of a Gentleman ? Did not thy father at his lail
gafpe breathe out this golden principle ; Brothers amitie is like the drops of Balfa-
mufrtf that falueth the mod dangerous fores 9 Did hee make a large exhort vnto con-
cord, and wilt thou fliewe thy felfe carelefTe ? Oh Rosader, what though Saladyne hath
wronged thee, and made thee liue an exile in the Forred ? (hall thy nature be fo
cruell, or thy nurture fo crooked, or thy thoughts fo fauage, as to fuffer fo difmall a
reuenge ^ what, to let him be deuoured by wilde beads ^ A/bn fapity qui nonJiH
fapit is fondly fpoken in fuch bitter extreames. Loofe not his life Rosader to winne
a world of treafure : for in hauing him thou had a brother, and by hazarding for his
Ufe, thou getted a friend, and reconciled an enemie : and more honour (halt thou pur-
chafe by pleafuring a foe, than reuenging a thoufand iniiuries.
With that his Brother began to dirre, and the Lion to rowfe himfelfe : whereupon
Rosader fodainely charged him with the Boare fpeare, and wounded the Lion verie
fore at the fird droake. The bead feeling himfelfe to haue a mortall hurt, leapt at
Rosader, and with his pawes gaue him a fore pinch on the bread that he had almod
fain : yet as a man mod valiant, in whom the fparkes of Sir lohn of Bourdeaux
remained, he recouered himfelfe, and in (hort combat flew the Lion : who at his death
roared fo lowde, that Saladyne awaked, and darting vp was amazed at the fodajme
fight of fo mondrous a bead lie (laine by him, and fo fwecte a Gentleman wounded.
He prefently (as hee was of a ripe conceipt) began to coniecfhire, that the Gentleman
had (lain him in his defence. Whereuppon (as a man in a traunce) he dood daring
on them both a good while, not knowing his Brother beeing in that difguife : at lad
hee burd into thefe tearmes.
Sir whatfoeuer thou bee, (as full of honour thou mud needs be, by the view of thy
prefent valure) I perceiue thou had redred my forttmes by thy courage, and faued my
life with thine owne lofTe : which ties me to be thine in all humble feruice. Thankes
thou (halt haue as thy due, and more thou cand not haue : for my abilitie denies to
perfourme a deeper debt But if anie wayes it pleafe thee to commaund me, vfe me
as farre as the power of a poore Gentleman may dretch.
Rosader feeing hee was vnknowen to his brother, wondred to heare fuch courteous
words come from his crabbed nature ; but glad of fuch reformed nourture, hee made
this aunfwere. I am fir (whatfoeuer thou art) a Forreder and Ranger of thefe
walkes : who following my Deere to the fall, was conducted hether by fome aflfenting
Fate, that I might faue thee, and difparage my felfe. For comming into this place, I
fawe thee a fleepe, and the Lion watching thy awake, that at thy ridng hee might
prey vppon thy carka(re. At the fird fight, I conie<5lured thee a Gentleman, (for all
mens thoughts ought to be fauourable in imagination) and I counted it the hart of a
refolute man to purchafe a drangers reliefe, though with the lofTe of his owne bloud :
which I haue perfourmed (thou feed) to mine owne preiudice. If therefore thou be
a man of fuch worth as I valew thee by thy exteriour liniaments, make difcourfe vnto
mee what is the caufe of thy prefent fortunes. For by the furrowes in thy face thou
feemed to be crod with her frowns : but whatfoeuer or howfoeuer, let me craue that
36o APPENDIX
faaour, to heare the tragicke caufe of thy eflate. Saladyne fitting downe, and fetch-
ing a deepe figh, began thus. Saladynes difcourfe to Ro fader vn-
k n o w e n . Although the difcourfe of my fortunes, be the renewing of my for-
rowes, and the rubbing of the fear, will open a frefti wound ; yet that I may not
prooue ingratefull to fo courteous a Gentleman, I will rather fitte downe and figh out
my eflate, than giue anie offence by fmoothering my griefe with filence. Know there-
fore (fir) that I am of BourdeauXy and the fonne and heire of Syr lohn of Bour-
deauXf a man for his vertues and valour fo famous, that I cannot thinke, but the fame
of his honours, hath reacht farther than the knowledge of his Perfouage. The infor-
tunate fonne of fo fortunate a Knight am I, my name Saladyne : Who fucceeding my
Father in poffeffions but not in qualities, hauing two Brethren committed by my Father
at his death to my charge, with fuch golden principles of brotherly concord, as might
haue pierfl like the Syrens melodie into anie humane eare. But I (with Vlysses
became deafe againfl his Philofophicall harmony, and made more value of profite
than of vertue, efleeming golde fufBcient honour, and wealth the fittefl title for a gen-
tlemans dignitie : I fet my middle brother to the Vniuerfitie to be a Scholler, counting
it enough if he might pore on a booke, while I fed vpon his reuenewes : and for the
yongefl (which was my fathers ioye) yong Rosader. And with that, naming of Rosa-
der, Saladyne fate him downe and wept.
Nay forward man (quoth the Forrefler) teares are the vnfittefl falue that anie man
can applie for to cure forowes, and therefore ceafe from fuch feminine follies, as
fhoulde droppe out of a Womans eye to deceiue, not out of a Gentlemans looke to
difcouer his thoughts, and forward with thy difcourfe.
Oh fir (quoth Saladjme) this Rosader that wringes teares from mine eyes, and
bloud from my heart, was like my father in exteriour perfonage and in inward quali-
ties : for in the prime of his yeares he aimed all his a(5U at honor, and coueted rather
to die, than to brooke anie iniurie vnworthie a Gentlemans credite. I, whom enuie
had made blinde, and couetoufneffe mafked with the vaile of felfe loue, feeing the
Palme tree grow flraight, thought to fuppreffe it being a twig : but Nature will haue
her courfe, the Cedar will be tall, the Diamond bright, the Carbuncle gliflering, and
vertue will fhine though it be neuer fo much obfcured. For I kept Rosader as a
flane, and vfed him as one of my feruile hindes, vntil age grew on, and a fecrete
infight of my abufe entred into his minde : infomuch, that hee could not brooke it,
but coueted to haue what his father left him, and to Hue of himfelfe. To be fhort fir,
I repined at his fortunes, and he countercheckt me not with abilitie but valour, vntill
at lafl by my friends and aid of fuch as followed golde more than right or vertue, I
banifht him from Bourdeaux, and he pore Gentleman Hues no man knowes where in
fome diflreffed difcontent. The Gods not able to fuffer fuch impietie vnreuenged, fo
wrought, that the King pickt a caufeles quarrell againfl me, in hope to haue my lands,
and fo hath exiled me out of France for euer. Thus, thus fir, am I the mofl miferable
of all men, as hauing a blemifh in my thoughtes for the wrongs I proffered Rosader,
and a touche in my (late to be throwen from my proper poffeffions by iniuflice. Paf-
fionate thus with manie griefes, in penaunce of my former follies, I goe thus pilgrime
like to feeke out my Brother, that I may reconcile my felfe to him in all fubmiffion,
and afterward wend to the holy I .and, to ende my yeares in as manie vertues, as I
haue fpent my youth in wicked vanities.
Rosader hearing the refolution of his brother Saladyne began to compafHonate his
forrowes, and not able to fmother the fparkes of Nature with fained fecrecie, he burfl
into thefe louing fpeaches. Then know Saladyne (quoth he) that thou hafl met with
LODGE'S ROSALYNDE 361
Rosader ; who grieues as much to fee thy diftrefle, as thy felfe to feele the burden of
thy miferie. Saladyne cafling vp his eye, and noting well the phifnomie of the For-
reder, knew that it was his brother Rosader : which made him fo baih and blufh at
the 6rll meeting, that Rosader was faine to recomfort him. Which he did in fuch
fort, y* he (hewed how highly he held reuenge in fcome. Much a doo there was
betweene thefe two Brethren, Saladjme in craning pardon, and Rosader in forgiuing
and forgetting all former iniuries; the one fubmiffe, the other curteous; Saladjme
penitent and paifionate, Rosader kinde & louing ; that at length Nature working an
vnion of theyr thoughts, they eameflly embraced, and fell from matters of vnkind-
neffe, to talke of the Countrey life, which Rosader fo highly commended, that his
brother began to haue a defire to tafle of that homely content. In this humour Rosa-
der condu(5led him to Gerismonds Lodge, and prefented his brother to the King ; dif-
courfing the whole matter how all bad happened betwixt them. The King looking
yppon Saladyne, found him a man of a mod beautifull perfonage, and faw in his face
fufficient fparkes of enfuing honours, gaue him great entertainment, and glad of their
friendly reconcilement, promifed fuch fauour as the pouertie of his edate might
affoord : which Saladyne gratefully accepted. And fo Gerismond fell to quedion of
Torismonds life? Saladyne briefly difcourd vnto him his iniudice and tyrannies:
with fuch modedie (although hee had wronged him) that Gerismond greatly praifed
the fparing fpeach of the yong Gentleman.
Manie quedions pad, but at lad Gerismond began with a deepe figh, to inquire if
there were anie newes of the welfare of Alinda or his daughter Rosalynde ? None
fir quoth Saladyne, for fmce their departure they were neuer heard of. Iniurious
Fortune (quoth the King) that to double the Fathers miferie, wrongd the Daughter
with miffortunes. And with that (furcharged with forrowes) he went into his Gel,
& led Saladyne and Rosader, whom Rosader dreight condu(5led to the fight of Adam
Spencer. Who feeing Saladyne in that edate, was in a browne dudie : but when hee
heard the whole matter, although he grieued for the exile of his Mader, yet hee ioyed
that banifhment had fo reformed him, that from a lafciuious youth hee was prooued
a vertuous Gentleman. Looking a longer while, and feeing what familiaritie pad
betweene them, and what fauours were interchanged with brotherly affecflion, he faid
thus ; I marrie, thus (hould it be, this was the concord that olde Sir lohn of Bour-
deaux wifht betwixt you. Now fulfill you thofe precepts he breathed out at his
death, and in obferuing them, looke to Hue fortunate, and die honourable. Wei faid
Adam Spencer quoth Rosader, but had anie vi(5lualls in dore for vs ^ A peece of a
red Deere (quoth he) and a bottle of wine. Tis Forreders fare brother, quoth Rosa-
der : and fo they fate downe and fell to their cates. AfToone as they had taken their
rcpad, and had well dined, Rosader tooke his brother Saladjme by the hand, and
(hewed him the pleafures of the Forred, and what content they enioyed in that
meane edate. Thus for two or three dayes he walked vp and down with his brother,
to (hewe him all the commodities that belonged to his Walke. In which time bee
was mid of his Ganimede, who mufed greatly (with Aliena) what (hould become of
their Foreder. Some while they thought he had taken fome word vnkindly, and had
taken the pet : then they imagined fome new loue had withdrawen his fancie, or hap-
pely that he was ficke, or detained by fome great bunne(re of Gerismonds, or that he
had made a reconcilement with his brother, and fo returned to Bourdeaux. Thefe
conie<5hires did they cad in their heads, but efpecially Ganimede : who hauing Loue
in her heart prooued redle(re, and halfe without patience, that Rosader wronged hir
with fo long abfence : for Loue meafures euerie minute, and thinkes bowers to be
362 APPENDIX
dayes, and dayes to be months, till they feed their eyes with the fight of their deftred
obie<5l. Thus perplexed liued poore Ganimede : while on a day fitting with Aliena
in a great dumpe, (he cafl vp her eye, and faw where Rosader came
pacing towards them with his forred bill on his necke. At that fight her I, ii, XI7
colour chaungde, and (he faid to Aliena; See Mi(lre(re where our iolly
Forrefter comes. And you are not a little glad thereof (quoth Aliena) your nofe
bewrayes what porredge you loue, the winde cari not bee tied within his quarter,
the Sunne (haddowed with a yaile, Oyle hidden in water, nor Loue kept out of a
Womans lookes : but no more of that, Lupus est in fabula. As foone as Rosader
was come within the reach of her tungs ende, Aliena began thus : Why how now
gentle Forrefter, what winde hath kept you from hence ? that beeing fo newly mar-
ried, you haue no more care of your Rosalynde, but to abfent your felfe fo manie
dayes 9 Are thefe the pa(rions you painted out fo in your Sonnets and roundelaies ?
I fee w«ll bote loue is foone colde, and that the fancie of men, is like to a loofe
feather that wandreth in the aire with the blaft of euerie winde. You are deceiued
Miftres quoth Rosader, twas a coppie of vnkindne(fe that kept me hence, in that I
being married, you carried away the Bryde : but if I haue giuen anie occaHon of
offence by abfenting my felfe thefe three dayes, I humblie fue for pardon : which you
muft gratmt of courfe, in that the fault is fo friendly confeft with penaunce. But to
tell you the truth (faire Miftre(re, and my good Rosalynde) my eldeft Brother by the
iniurie of Torismond is bani(hed from Bourdeaux^ and by chaunce hee and I met in
the Forreft. And heere Rosader difcouHl vnto them what had hapned betwixt them :
which reconcilement made them gladde, efpecially Ganimede. But Aliena hearing
of the tyrannie of her Father, grieued inwardly, and yet fmothred all things with
fuch fecrecie, that the concealing was more forrow than the conceipt : yet that her
eftate might be hid ftill, (hee made faire weather of it, and fo let all pa(fe.
Fortime, that fawe how thefe parties valued not her Deilie, but helde her power in
fcome, thought to haue about with them, and brought the matter to pa(fe thus. Cer*
taine Rafcalls that liued by prowling in the Forreft, who for feare of the Prouoft
Marihall had caues in the groues and thickets, to (hrowde themfelues from his traines ;
hearing of the beautie of this faire ShepheardcfTe Aliena, thought to fteale her away,
and to giue her to the King for a prefent ; hoping, becaufe the King was a great
lechour, by fUch a gift to purchafe all their pardons : and therfore came to take her
and her Page away. Thus refolued, while Aliena and Ganimede were in this fad
talk, they came ru(hing in, and laid violent hands vpon Aliena and her Page, which
made them crie out to Rosader : who hauing the valour of his father ftamped in his
heart, thought rather to die in defence of his friends, than anie way be toucht with
the leaft blemilh of difhonour ; and therfore dealt fuch blowes amongft them with his
weapon, as he did witneflfe well vpon their carcaffes, that he was no coward. But as
Ne Hercules quidem contra duos., fo Rosader could not refift a multitude, hauing none
to backe him ; fo that hee was not onely rebatted, but fore wounded, and Aliena and
Ganimede had been quite carried away by thefe Rafcalls, had not Fortune (that ment
to tume her frowne into a fauour) brought Saladyne that way by chaunce ; who wan-
dring to finde out his Brothers Walke, encountred this crue : and feeing not onely a
(hepheardcffe and her boy forced, but his brother wounded, hee heaued vp a forreft
bill he had on his necke, and the firft hee ftroke had neuer after more neede of the
Phifition : redoubling his blowes with fuch courage, that the (laues were amazed at
his valour.
Rosader efpying his brother fo fortunately arriued, and feeing how valiantly he
LODGES ROSALYNDE 363
behaued himfelfe, though fore woQded, nifhed amongft them, and laid on fuch load,
that fome of the crue were flaine, and the reft fled, leauing Aliena and Ganimede in
the pofrefTion of Rosader and Saladyne.
Aliena after (he had breathed a while and was come to her felfe from this feare,
lookt about her, and faw where Ganimede was bufie drefling vp the woimds of the
Forrefter : but (he caft her eye vpon this courteous champion that had made fo bote a
refcue, and that with fuch affe<5Uon, that (bee began to meafure euerie part of him
with fauour, and in her felfe to commend his perfonage and his vertue, holding him
for a refolute man, that durft affaile fuch a troupe of vnbridled yillaines. At lafl
gathering her fpirites together, (he returned him thefe thankes.
Gentle fir, whatfoeuer you be that haue aduentured your flclh to relieue our foi
tunes, as we holde you valiant, fo we efteeme you courteous, and to haue as manie
hidden vertues, as you haue manifeft refolutions. Wee poore Shepheards haue no
wealth but our flockes, and therefore can we not make requitall with anie great treaf-
ures : but our recompence is thankes, and our rewardes to our friendes without fain-
ing. For ranfome therefore of this our refcue, you muft content your felfe to take
fuch a kinde gramercie, as a poore Shepheardeffe and her Page may giue : with prom-
ife (in what wee may) neuer to prooue ingratefull. For this Gentleman that is hurt,
yong Rosader, he is our good neighbour and familiar acquaintance, weele pay him
with fmiles, and feede him with loue-lookes : and though he bee neuer the fatter at
the yeares ende, yet wele fo hamper him that he (hall holde himfelfe fatiffied.
Saladyne hearing this Shepheardeffe fpeake fo wifely began more narrowly to prie
into her perfedlion, and to furuey all her liniaments with a curious infight ; fo long
dallying in the flame of her beautie, that to his coft he found her to be moft excel-
lent : for Loue that lurked in all thefe broiles to haue a blowe or two, feeing the
parties at the gaze, encountred them both with fuch a yenie, that the ftroke pierft to
the heart fo deepe, as it could neuer after be raced out. At laft after he had looked
fo long, till Aliena waxt red, he returned her this anfwere.
Faire Shepheardeffe, if Fortune graced mee with fuch good hap, as to doo you
anie fauour, I holde my felfe as contented, as if I had gotten a great conqueft : for
the reliefe of diftreffed women is the fpeciall point, that Gentlemen are tied vnto by
honour : feeing then my hazarde to refcue your harmes, was rather dutie than curte-
fie, thaks is more than belongs to the requitall of fuch a fauour. But leaft I might
feeme either too coye or too carelefTe of a Gentle womans proff*er, I wil take your
kinde gramercie for a recompence. All this while that he fpake, Ganimede lookt
eameftly vpon him, and faid ; Tnilie Rosader, this Gentleman fauours you much in
the feature of your face. No meruaile (quoth hee, gentle Swaine) for tis my eldeft
brother Saladyne. Your brother quoth Aliena ? (& with that (he blufht) he is the
more welcome, and I holde myfelfe the more his debter : and for that he hath in my
behalfe done fuch a peece of feruice, if it pleafe him to doo me that honour, I will
call him feruant, and he (hall call me Miftreffe. Content fweet MiflrefTe quoth Sala-
dyne, and when I forget to call you fo, I will be vnmindfull of mine owne felfe.
Away with thefe quirkes and quiddities of loue quoth Rosader, and giue me fome
drinke, for I am paffmg thirflie, and then wil I home for my wounds bleede fore, and
I will haue them dreft. Ganimede had teares in her eyes, and pafTions in her heart
to fee her Rosader fo pained, and therefore ftept haftely to the bottle, and filling out
fome wine in a Mazer, fhee fpiced it with fuch comfortable drugs as fhe had about
her, and gaue it him ; which did comfort Rosader : that rifmg (with the helpe of his
brother) he tooke his leaue of them, and went to his Lodge. Ganimede affoone
364 APPENDIX
05 they were out of Hght ledde his flockes downe to a vale, and there vnder the
(haddow of a Beech tree fate downe, and began to moume the miffortunes of her
fweete heart.
And Aliena (as a woman paffing difcontent) feuering her felfe from her Ganimede,
fitting vnder a Lymon tree, began to figh out the pafTions of her newe Loue, and to
meditate with her felfe on this manner. A lienaes meditation . Ay me,
now I fee, and forrowing figh to fee that Dianaes Lawrells are harbours for Ventv
Doues, that there trace as well through the Lawnes, wantons as chad ones ; that
Calisto be (he neuer fo charie, will cad one amorous eye at courting loue : that Diana
her felf will change her fliape, but (hee will honour Loue in a Ihaddow : that maidens
eyes be they as hard as Diamonds, yet Cupide hath drugs to make them more pliable
than waxe. See Alinda, howe Fortune and Loue haue interleagued themfelues to be
thy foes : and to make thee their fubiec^ or els an abiec^, haue inueigled thy Hght
with a mod beautiful obie<5l. Alate thou didd holde Venus for a giglot, not a god-
defTe ; and now thou (halt be ford to fue fuppliant to her Deitie. Cupide was a boy
and blinde, but alas his eye had aime inough to pierce thee to the heart. While I
liued in the Court, I helde Loue in contempt, and in high feates I had fmall defires.
I knewe not affecflion while I liued in dignitie, nor could Venus counterchecke me,
as long as my fortune was maiedie, and my thoughtes honour : and (hall I nowe bee
high in defires, when I am made lowe by Dedenie ^
I haue hearde them faye, that Loue lookes not at low cottages, that Venus
iettes in Roabes not in ragges, that Cupide fives fo high, that hee fcomes to touche
pouertie with his heele. Tu(h Alinda, thefe are but olde wiues tales, and neither
authenticall precepts, nor infallible principles: for Experience tells thee, that
Pcafaunts haue theyr pa(rions, as well as Princes, that Swaynes as they haue their
labours, fo they haue theyr amours, and Loue lurkes a(roone about a Sheepcoate, as
a Pallaice.
Ah Alinda, this day in auoiding a preiudice thou art fallen into a deeper mif-
chiefe ; being refcued from the robbers, thou art become captiue to Saladyne : and
what then ^ Women mud loue, or they mud ceafe to liue : and therefore did Nature
frame them faire, that they might be fubie<5ls to fancie. But perhaps Saladjmes eye
is leuelde vpon a more feemelier Saint. If it be fo, beare thy pa(rions with patience,
fay Loue hath wrongd thee, that hath not wroong him ; and if he be proud in con-
tempt, bee thou rich in content ; and rather die than difcouer anie defire : for there
is nothing more precious in a woman, than to conceale Loue, and to die moded. He
is the fonne and heire of Sir lohn of Bourdeaux^ a youth comely enough : oh Alinda,
too comely, els hadd not thou been thus difcontent ; valiant, and that fettered thine
eye ; wife, els hadd thou not been nowe wonne : but for all thefe vertues, bani(hed
by thy father ; and therefore if hee know thy parentage, he will hate the fruite for
the tree, and condempne the yong fien for the olde docke. Well, howfoeuer, I mud
loue : and whomfoeuer, I will : and whatfoeuer betidej Aliena will thinke well of
Saladyne : fuppofe he of me as he pleafe. And with that fetching a deepe figh, (he
rife vp, and went to Ganimede : who all this while fate in a great dumpe, fearing the
imminent danger of her friend Rosader; but now Aliena began to comfort her, her
felfe beeing ouer growen with forrowes, and to recall her from her melancholie with
manie pleafaunt perfwafions. Ganimede tooke all in the bed part, and fo they went
home together after they had folded their flockes, fupping with olde Coridon, who
had prouided there cates. He after fupper, to pafTe away the night while bedde
time, began a long difcourfe, how Montanus the yong Shepheard that was in loue
LODGES ROSALYNDE 365
with Phoebe, could by no meanes obtaine ante fauour at her hands : but dill pained
in refUefle paffions, remained a hopeleHe and perplexed Louer. I would I might
(quoth Aliena) once fee that Phoebe, is fhee fo faire, that (he thinkes no (hepheard
worthie of her beautie : or fo froward that no loue nor loyaltie will content hir : or
fo coye, that (he requires a long time to be wooed : or fo fooli(h that (he forgets, that
like a fop (he mufl haue a large harued for a little come ^
I cannot di(lingui(h (quoth Condon) of thefe nice qualities: but one of thefe
dayes He bring Montanus and her downe, that you may both fee their perfons, and
note theyr pa(rions : and then where the blame is, there let it red. But this I am fure
quoth Condon, if all maidens were of her minde, the world would growe to a madde
pa(re ; for there would be great (lore of wooing, and little wedding, manie words and
little worihip, much follie and no faith. At this fad fentence of Coridon fo folempnlie
brought foorth, Aliena iiniled : and becaufe it waxt late, (he and her page went to
bed, both of them hauing fleas in their eares to keep the awake, Ganimede for the
hurt of her Rosader, and Aliena for the affe<5tion (he bore to Saladyne. In this dif-
contented humor they pad away the time, til falling on deep, their fenfes at red, Loue
led them to their quiet (lumbers : which were not long. For a(roone as Phoebus rofe
from his Aurora, and began to mount him in the Skie, fummoning the Plough-fwaines
to their handie labour, Aliena arofe ; and going to the couche where Ganimede laye,
awakened her page, and faid the morning was farre fpent, the deaw fmal, and time
called them awaye to their foldes. Ah, ah, (quoth Ganimede) is the winde in that
doore ^ then in faith I perceiue that there is no Diamond fo harde but will yeelde to
the file, no Cedar fo drong but the winde will (hake, nor anie minde fo chade but
Loue will change. Well Aliena, mud Saladyne be the man, and will it be a match ^
Trud me he is faire and valiant, the fonne of a worthie Knight ; whome if hee imi-
tate in perfe<5lion as hee reprefents him in proportion, he is worthie of no le(re than
Aliena. But he is an exile : what then ? I hope my Midres refpe<5l8 the vertues not
the wealth, and meafures the qualities not the fubdance. Thofe dames that are like
Danae, that like loue in no fhape but in a (hower of golde ; I wi(h them huf bandes
with much wealth and little wit ; that the want of the one may blemi(h the abun-
dance of the other. It (hould (my Aliena) daine the honour of a Shepheardes life
to fet the end of pafTions vpon pelfe. Loues eyes looks not fo low as gold, there is
no fees to be paid in Cupids Courtes : and in elder time (as Coridon hath tolde me)
the Shepheards Loue-gifts were apples and cheflnuts, & then their defires were loyal]
and their thoughts conflant. But now Quarenda pecunia primunty post nummos vir-
tus. And the time is growen to that which Horace in his Satyres wrote on :
omnis enim res
Virtus-fama decus diuina humanaque pulchris
DiuUijs parent : quas qui-constrinxerU ilU
Clarus erit^fortisy itistusyfaptens, etiam &* rex
Et quic quid voUt-
But Aliena let it not be fo with thee in thy fancies, but refpe(5l his faith, and
there an ende. Aliena hearing Ganimede thus ' forward to further Saladyne in his
afre<5Hons, thought (he kid the childe for the nurfes fake, and wooed for him that (he
might pleafe Rosader, made this replie ; Why Ganimede, whereof growes this per-
fwafion? Had thou feene Loue in my lookes? Or are mine eyes growen fo
amorous, that they difcouer fome new entertained fancies ? If thou meafured my
thoughtes by my countenance, thou maid prooue as ill a Phifiognomer as the Lapi*
366 APPENDIX
darie, that ayines at the fecrete vertnes of the Topace, by the exterior (hadow of the
ilone. The operation of the Agate is not knowen by the drakes, nor the Diamond
prized by his brightnefTe, but by his hardneffe. The Carbuncle that fliineth mod, is
not euer the moft precious : and the Apothecaries choofe not fk>wers for their coulours,
but for their vertues. Womens faces are not alwaies Kalenders of fancie, nor doo
their thoughtes and their lookes euer agree : for when their eyes are fulled of fauors,
then they are od mod emptie of defire : and when they feeme to frown at iifdaine,
then are they mod forwarde to affe<5tion. If I bee melancholie, then Ganimede tis
not a confequence that I am entangled with the perfecftion of Saladjme. But feeing
fire cannot be hid in the draw, nor Loue kept fo couert but it will bee fpied, what
diould friends conceale fancies 9 Know my Ganimede, the beautie and valour, the
wit and proweffe of Saladyne hath fettered Aliena fo farre, as there is no obiecl
pleafing to her eyes, but the fight of Saladyne : and if loue haue done me iudice, to
wrap his thoughts in the foldes of my fare, and that he be as deeply enamoured as I
am paiTionate; I tell thee Ganimede, there (hall not be much wooing, for flie is
alreadie wonne, and what needes a longer batterie. I am glad quoth Ganimede
that it fliall be thus proportioned, you to match with Saladyne, and I with Rosader :
thus haue the Dedenies fauoured vs with fome pleadng afpedl, that haue made vs as
priuate in our loues, as familiar in our fortunes.
With this Ganimede dart vp, made her readie, & went into the fields with Aliena :
where vnfolding their fiockes, they fate them downe vnder an Oliue tree, both of them
amorous, and yet diuerflie affe<5led ; Aliena ioying in the excellence of Saladyne, and
Ganimede forrowing for the wounds of her Rosader, not quiet in thought till die
might heare of his health. As thus both of them fate in thejrr dumpes, they might
efpie where Coridon came running towards them (almod out of breath with his had).
What newes with you (quoth Aliena) that you come in fuch podS Oh Midret
(quoth Coridon) you haue a long time defired to fee Fhcebe the faire ShepheardeiTe
whom Montanus loues : fo nowe if it pleafe you and Ganimede but to walke with
me to yonder thicket, there fliall you fee Montanus and her fitting by a Fountaine ;
he courting with his Countrey ditties, and flie as coye as if flie helde Loue in dif-
daine.
The newes were fo welcome to the two Louers, that yp they rofe, and went with
Coridon. AiToone as they drew nigh the thicket, they might efpie where Fhcebe fate,
(the faired ShepheardeiTe in all Arden^ and he the fipolickd Swaine in the whole For-
red) flie in a peticoate of fcarlet, couered with a greene mande ; and to flirowde her
from the Sunne, a chaplet of rofes : from vnder which appeared a face full of Natures
excellence, and two fuch eyes as might haue amated a greater man than Montanus.
At gaze vppon this gorgeous Nymph fat the Shepheard, feeding his eyes with her
fauours, wooing with fuch piteous lookes, & courting with fuch deep draind fighs, as
would haue made Diana her felfe to haue been companionate. At lad, fixing his
lookes on the riches of her face, his head on his hande, and his elbow on his knee,
he fung this moumefuU Dittie.
Montanus Sonnet
A Turtle fate vpon a Uaueleffe iree^
Mourning her abfent pheart
With fad and/orrie cheare :
About her wondring ftood
The citizens of Wood, lit it ^
LODGES ROSALYNDE 367
AndwhiUft her plumes Jhe rents
And for her loue laments,
Thejlately trees complaine them.
The birdes with forrow paine them :
Each one that doth her view
Her paine and forrorwes rue.
But were the/orrowes knowen
That me hath ouerthrowen.
Oh how would Vha^ Jigh, if Jhe did looke on met
The louejicke Polypheme that could not fee.
Who on the barraine fhore
His fortunes doth deplore.
And melteth all in mone
For Galatea gone :
And vnth his piteous cries
Affli^s both earth and Skies :
And to his woe betooke
Doth breake both pipe and hooke\
For whome complaines the Mome,
For whom the Sea Nymphs moume,
Alas his paine is nought:
For were my woe but thought.
Oh how would V\ia^figh, if Jhe did looke on mee t
Beyond compare my paine
yet glad am I,
Jf gentle Phcebe daine
to fee her Montan die.
Alter this, Montanus felt his paffions fo extreame, that he fell into this exclamation
•gaind the iniuflice of Loue.
Helas Tirant plein de rigueur,
Modere vn peu ta violence :
Que te fert ft grande defpenfe t
C*e/l trop de Jlammes pour vn cueur*
Efparguez en vne ejlin celle.
Puis fay ton effort d^efmoAoir,
Lafiere qui ne veut point voir.
En quelfuje brujle pour elle.
Execute Amour ce deffein,
Et rabaiffe vn peu f on audace.
Son cuer ne doit ejlre de glace,
Bien que elle ait de Niege lefein.
Montanus ended his Sonet with fuch a volley of fighs, and fuch a ilreame of
teares, as might haue mooued any but Phcebe to haue graunted him fauoor. But (he
meafuring all his paffions with a coye difdaine, and triumphing in the
poore Shepheardes patheticall humours, fmiling at his mart3Tdome, as IV, i, X83
though loue had been no maladie, foomefully warbled out this Sonnet
368 APPENDIX
Fhoebes Sonnet a replie to Montanus pafuon.
Downe a downe.
Thus YoXXY^/ung
by fancie once distrejfed :
Whofo by foolijh Loue areftung^
are worthely opprejfed.
Andfofmg I. With a downe, downe, &c»
When Loue was first begot.
And by the moouers will
Did fall to humane lot
HUfolace to fulfill,
Deuoid of all deceipty
A chast and holy fire
Did quicken mans conceipt.
And womens breast inspire.
The Gods that f aw the good
That mortalls did approue..
With kinde and holy mood
Began to talke of Loue.
Downe a downe,
Thus Phillis/i/ii^
by fancie once distreffed, ^tc%
But during this accord^
A wonder firange to heare :
Whitest Loue in deed and word
Most faithfull did appeare,
Falfe femblance came in place
By iealozie attended^
And with a doubleface
Both loue and fancie blended.
Which made the Gods forfake.
And men from fancie file.
And maidens f come a make\
Forfooth andfo will L
Downe a downe.
ThusVMxWvi^fung
by fancie once distreffed\
Whofo by foolifh Loue are flung
are worthely opprejfed,
Andfofmg L
with downe a downe, adowne downe, adowne a,
Montanus hearing the cruel refolution of Phoebe, was fo ouergrowen with paflions,
that from amorous Ditties he fell flat into thefe tearmes ; Ah Fhcebe quoth he, where-
of art thou made, that thou regardefl not iry maladie ? Am I fo hatefull an obie^
that thine eyes condempne me for an abiedl / or fo bafe, that thy defires cannot floope
fo lowe as to lende mee a gracious looke ^ My pafTions are manie, my loues more,
my thoughts loyaltie, and my fancie faith : all denoted in humble deuoire to the fer-
LODGE'S ROSALYNDE 369
nice of Fhcebe : & (hal I reape no reward for fach fealties. The Swaines daylie
labours is quit with the euenings hire, the Ploughmans toyle is eafed with the hope of
come, what the Oxe fweates out at the plough he fatneth at the cribbe : but infortv-
nate Montanus hath no falue for his forrowes, nor anie hope of rccOpence for the
hazard of his perplexed paflions. If Phcebe, time may plead the proofe of my truth,
twice feuen winters haue I loued faire Phoebe : if condancie bee a caufe to farther
my fute, Montanus thoughtes haue beene fealed in the fweete of Phoebes excellence,
as farre from chaunge as (he from loue : if outward paflions may difcouer inward
affedlions, the furrowes in my face may decypher the forrowes of my heart, and the
mappe of my lookes the griefes of my minde. Thou feed (Phoebe) the teares of def-
pa3rre haue made my cheekes full of wrinkles, and my fcalding fighes haue made the
aire Eccho her pitie conceiued in my plaints : Philomele hearing my paflions, hath
left her moumfull tunes to liden to the difcourfe of my miferies. I haue pourtraied
in euerie tree the beautie of my Miftrefle, & the defpaire of my loues. What is it in
the woods cannot witnes my woes ? and who is it would not pitie my plaints ^ Onely
Phoebe. And why ? Becaufe I am Montanus, and (he Phoebe ; I a worthleflfe Swaine
and (hee the mod excellent of all faires. Beautifuil Phoebe, oh might I fay pitifull,
then happie were I though I taded but one minute of that good bap. Meafure Mon-
tanus not by his fortunes but by his loues ; and ballaunce not his wealthe, but hit
defires, and lend but one gracious looke to cure a heape of difquieted cares : if not,
ah if Phoebe can not loue, let a dorme of frownes ende the difcontent of my thoughts,
and fo let me perilh in my defires, becaufe they are aboue my deferts : onely at my
death this fauour cannot be denied me, that all (hall fay, Montanus died for loue of
harde hearted Phcebe. At thefe words (he Bid her face full of frownes, and made
him this (hort and (harpe replie.
Importunate Shepheard, whofe loues are lawleflfe, becaufe redlefle : are thy paf-
fions fo extreame that thou cand not conceale them with patience 9 Or art thou fo
folly-fick, that thou mud needes be fancie-ficke ^ and in thy aflfecflion tied to fuch an
exigent, as none femes but Phoebe. Well fir, if your market may be made no where
els, home again, for your Mart is at the faired. Fhcebe is no lettice for
your lippes, and her grapes hangs fo high, that gaze at them you may, but V, i, 38
touch them you cannot. Yet Montanus I fpeake not this in pride, but in
difdaine ; not that I fcome thee, but that I hate Loue : for I count it as great honour
to triumph ouer Fancie, as ouer Fortune. Red thee content therefore Montanus, ceafe
from thy loues, and bridle thy lookes ; quench the fparkles before they grow to a
further flame : for in louing me thou (halt line by lode, & what thou vttered in words,
are all written in the winde. Wert thou (Montanus) as faire as Paris, as bardie as
Hector, as condant as Troylus, as louing as Leander ; Phoebe could not loue, becaufe
(he cannot loue at all : and therefore if thou purfue me with Phoebus, I mud flie with
Daphne.
Ganimede ouer-hearing all thefe paflions of Montanus, could not brooke the cruel-
tie of Phoebe, but darting from behindc the bu(h faid ; And if Damzell^ou fled from
me, I would tranfforme you as Daphne to a bay, and then in contempt trample your
branches vnder my feete. Phoebe at this fodaine replie was amazed, efpecially when
(he faw fo faire a Swaine as Ganimede ; blu(hing therefore, (hee would haue been
gone : but that he held her by the hand, and profecuted his replie thus. What Shep-
heardeHTe, fo fayre and fo cmell ^ Difdaine befeemes not cottages, nor coynes maides :
for either they be condempned to bee too proude, or too froward. Take heede (faire
Nymph) that in defpifing Loue, you be not ouer-reacht with Loue, and in (baking off
24
370 APPENDIX
all, (hape your felfe to your own fhaddow : and fo with Narcissus prooae paffionate &
yet vnpitied. Oft haue I heard, and fometimes haue I feene, high difdaine tumd to
hot defires. Becaufe thou art beautiful!, be not fo coye : as there is nothing more
faire, fo there is nothing more fading, as momentary as the (hadowes which growes
from a clowdie Sunne. Such (my faire ShepheardeHe) as difdaine in youth defire in
age, and then are they hated in the winter, that might haue been loued in the prime.
A wrinkled maide is like to a parched Rofe, that is call vp in coffers to pleafe the
fmell, not wome in the hand to content the eye. There is no follie in Loue to had I
wifl : and therefore be rulde by me, Loue while thou art young, lead thou be difdained
when thou art olde. Beautie nor time cannot bee recalde, and if thou loue, like of
Montauns : for as his defires are manie, fo his deferts are great
Phoebe all this while gazed on the perfection af Ganimede, as deeplie enamoured
on his perfection, as Montanus inueigled with hers : for her eye made funiey of his
excellent feature, which (he found fo rare, that flie thought the ghod of Adonis had
been leapt from Elizium in the (hape of a Swaine. When (he blufht at her owne fol-
lie to looke fo long on a (Iranger, (he mildlie made aunfwere to Ganimede thus. I
cannot denie fir but I haue heard of Loue, though I neuer felt Loue ; and haue read
of fuch a Godde(re as Venus, though I neuer faw anie but her picture : & perhaps,
and with that (he waxed red and bafhful, and with all filent : which Ganimede per-
ceiuing, commended in her felfe the ba(hfulne(re of the maide, and defircd her to goe
forward. And perhaps fir (quoth (he) mine eye hath ben more prodigall to day than
euer before : and with that (he (laid againe, as one greatly pa(rionate and perplexed.
— Aliena feeing the hare through the maze, bade her forwarde with her prattle : but in
vaine, for at this abrupt periode (he broke off, and with her eyes full of teares, and
her face couered with a vermillion die, (he fate downe and fightht. Whereuppon,
Aliena and Ganimede feeing the Shepheardeffe in fuch a flrange plight, left Phoebe
with her Montanus, wifhing her friendly that (hee would be more pliant to Loue, leait
in penaunce Venus ioyned her to fome (harpe repentaunce. Phoebe made no replie,
but fetcht fuch a figh, that Eccho made relation of her plaint : giuing Ganimede fuch
an adieu with a piercing glaunce, that the amorous Girle-boye perceiued Phoebe was
pincht by the heele.
But leaning Phcebe to the follies of her new fancie, and Montanus to attend vpon
her ; to Saladyne, who all this lad night could not red for the remembrance of Aliena :
infomuch that he framed afweete conceipted fonnet to content his humour, which he
put in his bofome : being requeded by his brother Rosader to go to Aliena and Gani-
mede, to fignifie vnto them that his wounds were not daungerous. A more happie
raefTage could not happen to Saladyne, that taking his Forred bil on his necke, he
trudgeth in all had towards the plaines, where Alienaes flockes did feede : comming
iud to the place when they returned from Montanus and Phoebe. Fortune fo con-
du(5tcd this ioUie Forreder, that he encountred them and Coridon, whom he pre-
fently faluted in this manner.
Faire Shepheardeffe, and too faire, vnleffe your beautie be tempred with courtefie,
& the liniaments of the face graced with the lowlineffe of minde : as manie good for-
tunes to you and your Page, as your felues can defire, or I imagine. My brother
Rosader (in the griefe of his greene wounds) dill mindfull of his friends, hath fent
me to you with a kind falute, to (hew that he brookes his paines with the more
patience, in that he holds the parties precious in whofe defence he receiued the pre-
iudice. The report of your welfare, will bee a great comfort to his didempered bodie
and didreffed thoughts, and therefore he fent mee with a dridt charge to vifite you.
LODGES ROSALYNDE yj\
And you (quoth Aliena) are the more welcome in that you are meiTenger from fo
kind a Gentleman, whofe paines we companionate with as great forrowe, as hee
brookes them with griefe ; and his wounds breedes in vs as manie paflions, as in him
extremities : fo that what difquiet hee feeles in bodie, wee partake in heart. Wifhing
(if wee might) that our mifhap might falue his maladie. But feeing our wills yeelds
him little eafe, oiu- orizons are neuer idle to the Gods for his recouerie. I pray youth
(quoth Ganimede with teares in his eies) when the Surgeon fearcht him, helde he his
wounds dangerous ^ Dangerous (quoth Saladyne) but not mortall : and the fooncr
to be cured, in that his patient is not impatient of anie paines: whereuppon my
brother hopes within thefe ten dayes to walke abroad and vifite you himfelfe. In the
meane time (quoth Ganimede) fay his Rosalynde commends her to him and bids him
be of good cheere. I know not (quoth Saladyne) who that Rosalynde is, but what-
foeuer (he is, her name is neuer out of his mouth : but amidll the deeped of his paf-
fions he vfeth Rosalynde as a charme to appeafe all forrows with patience. Infomuch
that I conie<5^ure my brother is in loue, and (he fome Paragon that holdes his hart
perplexed : whofe name he oft records with fighs, fometimes with teares, (Iraight with
ioy, then with fmiles ; as if in one }>erfon Loue had lodged a Chaos of confufed paf-
fions. Wherein I haue noted the variable difpofition of fancie, that like
the Polype in colours, fo it changeth into fundrie humours : being as it
(hould feeme a combate mixt with difquiet, and a bitter pleafure wrapt IV, iii, zo6
in a fweete preiudice, like to the Sinople tree, whofe bloffomes delight
the fmell, and whofe fruite infe<5ls the tad. By my faith (quoth Aliena)
fir, you are deepe read in loue, or growes your infight into a(re(5lion by experience ?
Howfoeuer, you are a great Philofopher in Venus principles, els could you not dif-
couer her fecrete aphorifmes. But fir our countrey amours are not like your courtly
fancies, nor is our wooing like your fuing : for poore (hepheards neuer plaine them
till Loue paine them, where the Courtiers eyes is full of palTions when his heart is
mod free from a(fedlion : they court to difcouer their eloquence, we wooe to eafe our
forrowes : euerie faire face with them mud haue a new fancie fealed with a forefinger
kiffe and a farre fetcht figh ; we heere loue one, and Hue to that one fo log as life can
maintain loue, vfrng few ceremonies becaufe we know fewe fubtilties, and little elo-
quence for that wee lightly accompt of flatterie : only faith and troth thats (hepfheards
wooing, and fir howe like you of this ? So (quoth Saladyne) as I could tie my felfe
to fuch loue. What, and looke fo low as a Shepheardeflfe, being the Sonne of Sir
lohn of Bourdeaux : fuch defires were a difgrace to your honours. And with that
furueying exquifitely euerie part of him, as vttering all thefe words in a deepe paf-
fion, (he efpied the pa}>er in his bofome : whereupon growing iealous that it was fome
amorous Sonnet, (hee fodainly fnatcht it out of his bofome, and af ked if it were any
fecrete She was ba(hfull, and Saladyne blu(ht: which (he perceiuing fayd; Nay
then fir, if you waxe redde, my life for yours tis fome Loue matter : I will fee your
Midreffe name, her praifes, and your paffions. And with that (he lookt on it : which
was written to this effeiSL
Saladynes Sonnet
Jf it be true that heauens etemall courfe
With restleffe /way and ceafeUffe turning glides^
Jf aire inconjlant be^ and /welling faur/e
Tume and retumes imth many fluent tides^
If earth in winter fummers pride estrange^
And Nature feemeth onely faire in change.
372 APPENDIX
Jf it be true that our immortaU fprighi
Deriude from heauenly pure, in wandringftitt
In noueltie and Jirangenefse doth delight^
And by di/couerent power difcemeth ill.
And if the bodie for to worke his best
Doth with thefeafons change his place of rtsi:
Whence comes it that {inforst by furious Skies)
I change both place andfoyle, but not my hartf
Yetfaiue not in this change my maladies f
Whence growes it that each obieifl workes my fmartl
Alas J fee my faith procures my mifse.
And change in hue against my nature is.
£t florida pungmit.
Aliena hauing read ouer his fonnet, began thus pleafantly to defcant vpom it. I
fee Saladyne (quoth (hee) that as the Sunne is no Sunne without his brigbtneifey nor
the diamond accounted for precious vnlefle it be hard : fo men are not men vnlefle
they be in loue ; and their honours are meafured by their amours not their laboun^
counting it more commendable for a Gentleman to be full of fancie, than full of ver-
tue. I had thought Otia fi tollas periere Cupidinis arcuSy || Contemptaq iaceni^ ^
fine luce faces : But I fee Quids axiome is not authentically for euen labor hath het
loues, and extremitie is no pumice (lone to race out fancie. Your felfe exiled firom
your wealth, friends & countrey by Torismond, (forrowes enough to fuppreffe affeiSHoiis)
yet amidd the depth of thefe extreamities, Loue will be Lord, and (hew his power to
bee more predominant than Fortune. But I pray you fir (if without offence I maya
craue it) are they fome new thoughts, or fome olde defires ? Saladyne (that now £aw
opportunitie pleafaunt) thought to (bike while the yron was bote, and therefore Pairing
Aliena by the hand fate downe by her ; and Ganimede to giue them leaue to their Loues,
founde her felfe bufie about the foldes, whiled Saladyne fell into this prattle with Aliena.
Faire Midres, if I bee blunt in difcouering my affe<5lions, and vfe little eloquence
in leuelling out my loues: I appeale for pardon to your owne principles that fay,
Shepheards vfe few ceremonies, for that they acquaint thefelues with fewe fubtilties :
to frame my felfe therefore to your countrey fa(hion with much faith and little flatterie,
knowe beautifull Shepheardeffe, that whiled I liued in the court I knew not Loues
cumber, but I held affe(5lion as a toy, not as a maladie ; vfmg fancie as the Hiperborei
do their (lowers, which they weare in their bofome all day, and cad them in the fire
for fuell all night. I liked al becaufe I loued none, and who was mod faire on her I
fed mine eye : but as charely as the Bee, that affoone as (he hath fuckt honnie from
the rofe, flies draight to the next Marigold. Liuing thus at mine owne lid, I wondred
at fuch as were in loue, & when I read their pa(rions, I tooke them only for poems that
flowed from the quickneffe of the wit not the forrowes of the heart But nowe (faire
Njinph) fmce I became a Forreder, Loue hath taught me fuch a le(ron that I mud
confefle his deitie and dignitie, and faye as there is nothing fo precious as beautie, fo
there is nothing more piercing than fancie. For fince fird I arriued in this place, and
mine eie tooke a curious furuey of your excellence, I haue been fo fettered with your
beautie and vertue, as (fweet Aliena) Saladyne without further circumdance loues
Aliena. I coulde paint out my defires with long ambages, but feeing in manie words
lies midrud, and that trueth is euer naked ; let this fuflice for a countrey wooing, Sala-
dyne loues Aliena, and none but Aliena.
LODGES ROSALYNDE 373
Althoagli Ihefe words were moil heauenly hannonie m the eares of the Shep-
heardefle : yet to feeme coye at the firfl courting, and to difdaine Loue howfoener
(hee defired Loue, (he made this replie.
Ah Saladyne, though I feeme fimple, yet I am more fubtile than to fwallow the
hook becaufe it hath a painted bait : as men are wilie fo women are warie, efpecially
if they haue that wit by others harmes to beware. Doo wee not knowe Saladyne,
that mens tongues are like Mercuries pipe, that can inchaunt Argus with an hundred
eies ; and their words as preiudiciall as the charmes of Circes, that tranffourme men
into monflers. If fuch Syrens fing, wee poore Women had neede (loppe our eares,
lead in hearing we proue fo foolifh hardie as to beleeue them, and fo perrifli in trud-
ing much, and fufpe<5Ung little. Saladyne, PifccUor uflus fapity he that hath been
once poyfoned & afterwards feares not to bowfe of eoerie potion, is woorthie to fuffer
double pennaunce. Giue me leaue then to miflrud, though I doo not condempne.
Saladyne is now in loue with Aliena, he a Gentleman of great Parentage, (he a Shep-
heardeffe of meane Parents ; he honourable, and (hee poore ? Can Loue confift of
contrarieties ? Will the Fawlcon pearch with the Kidrerfe, the Lion harbour with
the Woolfe ? Will Venus ioyne roabes and rags together S Or can there be a fim-
pathie betweene a King and a begger. Then Saladyne how can I beleeue thee that
loue (hould vnite our thoughts, when Fortune hath fet fuch a difference betweene our
degrees ? But fuppofe thou liked of Alienaes beautie, men in their fiEmcie refemble
the wafpe, which fcomes that flower from which (he hath fetcht her waxe ; playing
like the inhabitants of the Ilande Tenerifa^ who when they haue gathered the fweete
fpices, vfe the trees for fuel : fo men when they haue glutted themfelues with the faire
of womens faces, holde them for nece(rarie euills ; and wearied with that which they
feemed fo much to loue, cad away fancie as children doo their rattles ; and loathing
that which fo deepelie before they likte, efpecially fuch as take loue in a minute, &
haue their eyes attra<5tiue like ieate apt to entertaine anie obie(5l, are as readie to let it
flip againe. Saladyne hearing howe Aliena harpt dill vppon one firing, which was
the doubt of mens condancie, hee broke off her (harp inue(5liue thus.
I graunt Aliena (quoth hee) manie men haue doone ami(re in proouing foone ripe
and foone rotten, but particular indances inferre no generall cmicluflons : and there-
fore I hope what others haue faulted in (hall not preiudice my fauours. I will not
vfe fophidrie to confirme my loue, for that is fubtiltie ; nor long difcourfes, lead my
words might bee thought more than my faith : but if this will fuffice, that by the
honour of a Gentleman I loue Aliena, and wooe Aliena not to crop the bloffomes
and reie(5l the tree, but to confummate my faithfull defires, in the honourable ende
of marriage.
At this word marriage : Aliena dood in a maze what to anfwere : fearing that if
(he were too coye to driue him away with her difdaine ; and if fhe were too cour-
teous to difcouer the heate of her defires. In a dilemma thus what to doo, at lad
this flie faid. Saladyne euer flnce I faw thee, I fauoured thee, I cannot diffemble
my defires, becaufe I fee thou dood faithfully manifed thy thoughtes, and in liking
thee I loue thee fo farre as mine honour holdes fancie flill in fufpence : but if I knew
thee as vertuous as thy father, or as well qualified as thy brother Rosader, the doubt
fhoulde be quicklie decided : but for this time to giue thee an anfwere, affure thy
felfe this, I will either marrie with Saladyne, or flill Hue a virgine : and with this
they drained one anothers hand. Which Ganimede efpying, thinking be had had
his Miflrcs long enough at fhrift, faid; what, a match or no^ A match (quoth
Aliena) or els it were an ill market I am glad (quoth Ganimede) I would Rosader
18
374 APPENDIX
were well here to make vp a meffe. Well remembred (quoth Saladyne) I forgot I
left my brother Rosader alone : and therefore leaft being folitarie he Ihould increafe
his forrowes I will hafl me to him. May it plcafe you then to commaund me anie
feruice to him, I am readie to be a duetifull meffenger. Onely at this time commend
me to him (quoth Aliena) & tell him, though wee cannot plcafure him we pray for
him. And forget not (quoth Ganimcde) my commendations: but fay to him that
Rosalynde Iheds as manie tcarcs from her heart, as he drops of bloud from bis
wounds, for the forrow of his miffortunes ; feathering all her thoughtes with difciuiet,
till his welfare procure her content: fay thus (good Saladyne) and fo farewell. He
hauing his meOage, gaue a courteous adieu to them both, efpecially to Aliena:
and fo playing loath to depart, went to his brother. But Aliena, (he perplexed
and yet ioyfuU, pad away the day pleafauntly dill praifing the perfe<5Uon of Sala-
dyne, not ceafmg to chat of her new Loue, till euening drew on; and then they
folding their flieepe, went home to bed. Where we leaue them and retume to
Phoebe.
Phoebe fiered with the vncouth flame of loue, returned to her fathers houfe ; fo
galled with refUefle pafTions, as now (he began to acknowledge, that as there was no
flower fo fre(h but might bee parched with the Sunne, no tree fo (Irong but might bee
(haken with a (lorme ; fo there was no thought fo chad, but Time armde with Loue
could make amorous : for (hee that helde Diana for the Godde(re of her deuotion,
was now faine to die to the Altare of Venus ; as fu])pliant now with prayers, as (he
was froward afore with difdaine. As (he lay in her bed, (he called to minde the
feuerall beauties of yong Ganimed, firft his locks, which being amber hued, pa(reth
the wreathe that Phoebus puts on to make his front glorious ; his browe of yuorie, was
like the feate where Loue and Maieftie fits inthronde to enchayne Fancie ; his eyes
as bright as the bumilhing of the heauen, darting foorth frowncs with difdaine, and
fmiles with fauor, lightning fuch lookes as would enflame defire, were (hee wrapt in
the Circle of the frozen Zoane; in his cheekes the vermilion teinture of the Rofe
flourifhed vpon naturall Alabafler, the blulh of the Mome and Lunaes filuer (howe
were fo liuely portrayed, that the Troyan that fils out wine to lupiter was not halfe fo
beautifull ; his face was full of pleafance, and all the red of his liniaments propor-
tioned with fuch excellence, as Phcebe was fettred in the fweetnes of his feature.
The Idea of thefe perfections tumbling in her minde, made the poore Shepheardrfe
fo perplexed, as feeling a plcafure tempred with intollerable paines, and yet a dif-
quict mixed with a confent, (he rather wi(hed to die, than to liue in this amorous
anguifh. But wi(hing is little worth in fuch extreames, and therefore was (he ford to
pine in her maladie, without anie falue for her forrowes. Reueale it (he durd not,
as daring in fuch matters to make none her fecrctarie ; and to conceale it, why it
doubled her griefe : for as fire fupprcd growes to the greater flame, and the Current
dopt to the more violent dreame ; fo Loue fmothred wrings the heart with the deeper
paflions.
Perplexed thus with fundrie agonies, her foode began to faile, and the difquiet of
her minde began to worke a didemperature of her bodie, that to be (hort Phoebe fell
extreame ficke, and fo ficke, as there was almod left no recouerie of health. Her
father feeing his faire Phoebe thus didred, fent for his friends, who fought by medi-
cine to cure, and by counfaile to pacific, but all in vaine : for although her bodie was
feeble through long fading, yet (he did magis agrotare animo quam corpore. Which
her friends perceiued and forrowed at, but falue it they could not.
The newes of her (ickne(re was bruted abroad thorough all the Forred : which no
LODGES ROSALYNDE 375
fooner came to Montanus eare, but he like a madde man came to vifite Phoebe.
Where fitting by her bedde fide, he began his Exordium with fo manie teares and
fighes, that (he perceiuing the extremitie of his forrowes, began now as a louer to pitie
them, although Ganimede helde her from redrelTrng them. Montanus craued to knowe
the caufe of her fickneffe, tempred with fecrete plaints : but fhe aunfwered him (as
the reft) with filence, hauing ftill the forme of Ganimede in her minde, & conie(5luring
how (hee might reueale her loues. To vtter it in words (he found herfelfe too ba(h-
full, to difcourfe by anie friend (hee would not truft anie in her amours, to remayne
thus perplexed ftill and conceale all, it was a double death. Whereuppon for her laft
refuge (he refolued to write vnto Ganimede : and therefore defired Montanus to abfent
him felfe a while, but not to depart : for (lie would fee if (he could fteale a nappe.
He was no fooner gone out of the chamber, but reaching to her ftandi(h, (he tooke
penne and paper, and wrote a letter to this effecfl. Phoebe to Ganimede
wi(heth what (he wants her felfe. Faire Shepheard (and therefore is
Phoebe infortunate becaufe thou art fo faire) although hetherto mine eies were ada-
mants to refift Loue, yet I no fooner faw thy face but they became amorous to inter-
taine Loue : more denoted to fancie than before they were repugnant to a(fe(5lion,
addi(5led to the one by Nature, and drawen to the other by beautie ; which being
rare, and made the more excellent by manie vertues, hath fo fnared the freedome of
Phoebe, as (lie refts at thy mercie, either to bee made the moft fortunate of all Maidens,
or the moft miferable of all Women. Meafure not Ganimede my loues by my wealth,
nor my defires by my degrees : but thinke my thoughts are as full of faith, as thy face
of amiable fauours. Then as thou knoweft thy felfe moft beautifull, fuppofe me moft
conftant. If thou deemeft me hardhearted becaufe I hated Montanus, thinke I was
forft to it by Fate : if thou faift I am kinde hearted becaufe fo lightly I loue thee at
the firft looke, thinke I was driuen to it by Deftenie, whofe influence as it is mightie,
fo it is not to be refifted. If my fortunes were anie thing but infortunate Loue, I
woulde ftriue with Fortune : but he that wrefts againft the will of Venus, feekes to
quench (ire with oyle, and to thruft out one thome by putting in another. If then
Ganimede, Ix)ue enters at the eie, harbours in the heart, and will neither bee driuen
out with Phificke nor reafon : pitie me, as one whofe maladie hath no falue but from
thy fweete felfe, whofe griefe hath no eafe but through thy graunt, and thinke I am a
Virgine, who is deepely wrongd, when I am forft to wooe : and coniedlure Loue to
bee ftrong, that is more forceable than Nature.
Thus diftreflfed vnle(re by thee eafed, I expecfl either to Hue fortunate by thy
fauour, or die miferable by thy deniall. Lining in hope. Farewell.
She that muft be thine, or not be at all.
Phabe,
To this Letter (he annexed this Sonnet.
Sonnetto.
My boaie doth pajfe the ftraights
cf feas incenst withfire^
Filde with forgetfulruffe :
amidst the winters night,
A blinde and careleffe boy
(brought vp by fonde defire)
Doth guide me in thefea
of forrow and defpight.
376 APPENDIX
Fwr eueru cane, ke feis
m ramJke of fooiijh tkot^hit^
And cuts \inJleaJ of Toaue)
a kcp< without dijireffe ;
Tkt wituUs of my deepefighs
{that thunder fiiU for ntn^kO)
Havt fplit my fayUs withftart,
with care, with heauinejfe,
A mightie ftorme of teares,
a blacke and hideous clcude,
A thouf and fierce difdaines
doooflacke the haleyards oft:
Till ignorance doo pull
and errour hale thefhrowdes
Norftarre forfafetie fh ines,
no Fha:he from aloft.
Time hcdh fubdued arte,
and ioy isflaue to woe :
Alas {^Loues guide) be kinde\
whatfhall Jperifh fo ?
This Letter and the Sonnet being ended, (he could find no fitte meflenger to lende
it by ; and therefore (he called in Montanus, and intreated him to carrie it to Gaiu>
mede. Although poore Montanus faw day at a little hole, and did perceiue ^irhat
palTion pincht her : yet (that he might feeme dutifull to his Miflres in all femice) he
difTcmbled the matter, and became a willing meflfenger of his owne Martyndome.
And fo (taking the letter) went the next mome verie early to the Plaines ^rhere
Aliena fed her flockes, and there bee found Ganimede fitting vnder a Pomegnmade
tree forrowing for the hard fortunes of her Rosader. Montanus faluted him, and
according to his charge deliuered Ganimede the letters, which (he faid) came from
Pha;l)c. At this the wanton blufht, as beeing abafht to thinke what newes (hould
come from an vnknowen She[)heardcfre, but taking the letters vuript the feales, and
read oner the difcourfe of I*lioel)es fancies. When fliee had read and ouerread them,
Ganimede began to fmile, & looking on Montanns fell into a great laughter: and with
that called Aliena, to whom (he (hewed the writings. Who hauing perufed them,
concci[)tcd them verie pleafantly, and fmiled to fee how Loue had yoakt her, whe
l)cforc difdained to (lou])e to the lure, Aliena whifpering Ganimede in the eare, and
faying ; Kncwe Phnebe what want there were in thee to perfourme her will, and how
vnfit thy kindc is to l)ee kinde to her, (he would be more wife and leflfe enamoured:
but Irauing that, I pray thee let vs fjwrt with this Swaine. At that worde, Gammede
t<nirning to Montanus, Ixigan to glauncc at him thus.
I pray tlioe toll me Shcphcard, by thofe fweet thoughts and pleafing fighes that
grow fnnn my MiflrrfTc fauours, art thou in loue with Phoebe ? Oh my Youth, quoth
Montanus, were Ilia'lw fo farre in loue with me, my Flockes would be more fat and
thrlr Madrr more <|uict : for through the forrowes of my difcontent growes the lean-
nrllr of my rtirr|K», Alas ixx>re Swaine quoth Ganimede, are thy pa(rions fo extreame
or thy fnnrir fo rrfolutr, that no n*afon will blemi(h the pride of thy affedlion, and
ratr out that which thou nriuc(\ for without hope? Nothing can make me forget
I*l)irl»r, while Muntaimii forget himfclfc * for thofe charadlers which true Loue hath
LODGES ROSALYNDE 377
ilampedy neither the enuie of Time nor Fortune can wipe awaye. Why but Mon-
tanus qnoth Ganimede^ enter with a deepe infight into the defpaire of thy fancies,
and thou (halt fee the depth of thine owne follies : for (poore man) thy progreOe in
loue is a regreffe to loffe, fwimming againft the (Ireame with the Crab, and flying
with Apis Indica againfl winde and weather. Thou feekefl with Phoebus to winne
Daphne, and fliee flies fader than thou cand follower thy defires foare with the
Hobbie, but her difdaine reacheth higher than thou cand make wing.
I tell thee Montanus, in courting Phoebe thou barked with the Wolues V, ii, xzo
of Syria againd the Moone, and roaued at fuch a marke with thy
thoughtes, as is beyond the pitch of thy bow, praying to Loue when Loue is pitilclie,
and thy maladie remedileOe. For proofe Montanus read thefe letters, wherein thou
(halt fee thy great follies and little hope.
With that Montanus tooke them and perufed them, but with fuch forrow in his
lookes, as they bewrayed a fourfe of confufed paHTions, in his heart : at euerie line his
coulour changed, and euerie fentence was ended with a periode of fighes.
At lad, noting Phoebes extreame defire toward Ganimede, and her difdaine towards
him, giuing Ganimede the letter, the Shepheard doode as though hee had neither
wonne nor lod. Which Ganimede perceiuing, wakened him out his drearae thus ;
Now Montanus, dood thou fee thou vowed great feruice, and obteined but little
reward : but in lieu of thy loyaltie, die maketh thee as Bellephoron carrie thine owne
bane. Then drinke not willinglie of that potion wherein thou knowed is poyfon,
creepe not to her that cares not for thee. What Montanus, there are manie as faire as
Phoebe, but mod of all mofe courteous than Phoebe. I tell thee Shepheard, fauour is
Loues fuell .* then fmce thou cand not get that, let the flame vanifh into fmoake, and
rather forrow for a while than repent thee for euer.
1 tell thee Ganimede (quoth Montanus) as they which are dung with the Scorpion,
cannot be recouered but by the Scorpion, nor hee that was wounded with Achilles
lance be cured but with the fame trunchion : fo Apollo was faine to crie out, that
Loue was onely eafed with Loue, and fancie healed by no medecin but fauor. Phoebus
had hearbs to heale all hurts but this paiTion, Cyrces had charmes for all chaunces but
for affedlion, and Mercuric fubtill reafons to refell all griefes but Loue. Perfwafions
are bootlelTe, Reafon lendes no remedie, G>unfaile no comfort, to fuch whome Fancie
bath made refolute: and therefore though Phoebe loues Ganimede, yet Montanus
mud honor none but Phoebe.
Then quoth Ganimede, may I rightly tearme thee a defpayring Louer, that liueil
without ioy, & loued without hope : but what (hall I doo Montanus to pleafure thee 9
Shall I defpife Phoebe as (he difdaines thee ^ Oh (quoth Montanus) that were to
renew my griefes, and double my forrowes : for the fight of her difcontent were the
cenfure of my death. Alas Ganimede, though I perifh in my thoughtes, let not her
die in her defires. Of all pafTions, Loue is mod impatient : then let not fo faire a
creature as Phoebe finke vnder the burden of fo deepe a didreffe. Being loue ficke
(he is prooued heart ficke, and all for the beautie of Ganimede. Thy proportion hath
entangled her affeiftion, and (he is fnared in the beautie of thy excellence. Then fith
(he loues thee fo deere, miflike not her deadly. Bee thou paramour to fuch a para-
gon : (hee hath beautie to content thine eye, and flockes to enrich thy dore. Thou
cand not wi(h for more than thou (halt winne by her : for (he is beautifull, vertuous
and wealthie, three deepe perfwafions to make loue frolicke. Aliena feeing Montanus
cut it againd the haire, and plead that Ganimede ought to loue Phoebe, when his
onely life was the loue of Phoebe : anfwered him thus. Why Montanus dood thou
378 APPENDIX
further this motion 9 feeing if Ganimede xnarrie Phoebe thy market is clean mard.
Ah Midres (quoth he) fo hath Loue taught mee to honour Phoebe, that I would preiu-
dice my life to pleafure her, and die in defpaire rather tlian (he (hould p>eri(h for want.
It (hal fuffice me to fee him contented, and to feed mine eye on her £aaour. If (he
marrie though it be my Martyrdome : yet if (hee bee pleafed I will brooke it with
patience, and triumph in mine owne (larres to fee her defircs fatilTied. ITierefore if
Ganimede bee as courteous as hoc is beautifull, let him (hew his vcrtues, in redrefling
Phoebes miferies. And this Montanus pronounfl with fuch an alTured countenance,
that it amazed both Aliena and Ganimede to fee the refolution of his loues : fo that
they pitied his paiTions and commended his patience ; deuifmg how they might by
anie fubtiltie, get Montanus the fauour of Phoebe. Straight (as Womens heads are
full of wyles) Ganimede had a fetch to force Phoebe to fancie the Shepheard Mai-
grado the refolution of her minde hee profecuted his p>olicie thus. Montanus (quoth
he) feeing PhoL'be is fo forlome lead I might bee couuted vnkinde, in not faluing fo
faire a creature, I will goe with thee to Phoebe, and there heare her felfe in worde
vtter that which fhe hath difcourd with her penne, and then as Loue wills me, I will
fet downe my cenfure. I will home by our houfe, and fend Coridon to accompanie
Aliena. Montanus feemed glad of this determination, and away they goe towards
the houfe of Phoebe. When they drew nigh to the Cottage, Montanus ranne afore, &
went in and tolde Pha'be that Ganimede was at the dore. This word Ganimede
founding in the eares of Phoebe, draue her into fuch an extafie for joy, that riAng vp
in her bed Hie was halfe rcuiucd, and her wan colour began to waxe red : and with
that came Ganimede in, who faluted Phoebe with fuch a curteous looke, that it "was
halfe a falue to her forrowes. Sitting him downe by her bed fide, hee quellioned
about her difeafe, and where the paine chiefly helde her? Phoebe looking as louely
as Venus in her night geere, tainting her face with as ruddie a blu(h as Clitia did
when when (hee bewrayed her Ix)ues to Phoebus.* taking Ganimede by the hand
began thus. Faire (hepheard, if loue were not more drong then nature, or fancie the
fliarped extreame ; my immodedy were the more, and my vertues the leflTe : for nature
hath framed womens eyes baflifull, their hearts full of feare, and their tongues full of
filence : But Loue, that imperious Ix>ue, where his power is predominant, then he
peruerts all and wredeth the wealth of nature to his owne will : an Indance in my
felfe fayre Ganimede, for fuch afire hath he kindled in my thoughts, that to finde eafe
for the flame, I was forced to pafTe the bounds of modedie and feeke a falue at thy
handes for my fecret harmcs , blame mee not if I bee ouer bolde for it is thy beautie,
and if I be too forward it is fancie, & the deepe infight into thy vertues that makes
me thus fond. For let me fay in a word, what may be contayned in a volume, Phoebe
loues Ganimede : at this (he held downe her head and wept, and Ganimede rofe as
one that would fuffer no fi(h to hang on his fingers made this replie. Water not thy —
plants Phoebe, for I doe pitie thy plaintcs, nor feeke not to difcouer thy Loues in
tearcs : for I conie(5hire thy trueth by thy paffions : forrow is no falue for loues, nor
fighes no remedie for afre<5Hon. Therefore frolick Phoebe, for if Ganimede can cure
thee, doubt not of recouerie. Yet this let me fay without offence, that it greeues me
to thwart Montanus in his fancies, feeing his defires haue ben fo refolute, and his
thoughts fo loyall : But thou alleadged that thou art ford from him by fate ; fo I tell
thee Phoebe either fome darre or elfe fome dedinie fits my minde rather with Adonis
to die in chafe, than be counted a wanton in Venus knee. Although I pittie thy mar-
tyrdome, yet I can grant no mariage ; for though 1 held thee faire, yet mine eye is not
fettered, Loue growes not like the hearb Spattanna to his perfe(5lion in one night but
LODGES ROSALYNDE 379
crccpes with the fnaile, and yet at lad attaines to the top Feftiiia Letite efpecially in
Loue: for momentarie fancies are oft times the fruites of follies: If Phoebe I ihould
like thee as the Hiperborei do their Dates, which banquet with them in the morning
and throw them awaie at night, my folly ftiould be great, and thy repentance more,
Therefore I will haue time to tume my thoughts, and my Loues fhall growe vp as the
water Crejfes, flowly but with a deepc roote. Thus Phoebe thou maift fee I difdaine
not though I delire not, remaining indifferent till time and loue makes me refolute.
Therefore Phoebe feeke not to fuppreffe afie(5Hon, and with the Loue of Montanus
quench the remembrance of Ganimede, fbriue thou to hate me as I feeke to like of
thee, and euer haue the duties of Montanus in thy minde, for I promife thee thou
mayfl haue one more welthie but not more loyall. Thefe wordes were corafiues to
the perplexed Phoebe, that fobbing out fighes and (Irayning out teares fhee blubbered
out thefe wordes.
And fhall I then haue no falue of Ganimede, but fufpence, no hope but a doubt-
full hazard, no comfort, but bee poAed off to the will of time ^ iuflly haue the Gods
ballanfl my fortunes, who beeing cruell to Montanus found Ganimede, as vnkinde to
my felfe : fo in forcing him perifh for loue, I fhall die my felfe with ouermuch loue.
I am glad (quoth Ganimede) you looke into your owne faults, and fee where your
fhooe wrings you, meafuring now the paines of Montanns by yoiu* owne paffions.
Truth quoth Phoebe, and fo deeply I repent me of my frowardneffe toward the Shep-
heard, that could I ceafe to loue Ganimede, I would refolue to like Montanus. What
if I can with reafon pcrfwade Phoebe to miflike of Ganimede, will fhe then fauour
Montanus ? When reafon (quoth fhe) doth quench that loue that I owe to thee, then
will I fancie him: conditionallie,.that if my loue can bee fupprefl with no reafon, as
beeing without reafon, Ganimede wil onely wed himfelfe to Phoebe. I graunt it faire
ShephcardefTe quoth he : and to feede thee with the fweetneffe of hope, this refolue
on : I will neuer marrie my felfe to woman but vnto thy felfe : and with that Gani-
mede gaue Phoebe a fruiteleffe kiffe & fuch words of comfort, that before Ganimede
departed fhe arofe out of her bed, and made him and Montanus fuch cheere, as could
be found in fuch a Countrcy cottage. Ganimede in the midfl of their banquet re-
hearfmg the promifes of either in Montanus fauour, which highly plcafed the Shep-
hearde. Thus all three content, and foothed vp in hope, Ganimede tooke his Icaue
of his Phoebe & departed, leaning her a contented woman, and Montanus highly
pleafed. But poore Ganimede, who had her thoughtes on her Rosader, when fhe
calde to remembrance his wounds, filde her eyes full of teares, and her heart full of
forrowes, plodded to finde Aliena at the Foldes, thinking with her prcfence to driue
away her pafTions. As fhe came on the Plaines, fhe might efpie where Rosader and
Saladyne fate with Aliena vnder the fhade : which fight was a falue to her griefe, and
fuch a cordiall vnto her heart, that fhe tript alongfl the Ijiwnes full of ioy.
At lafl Coridon who was with them fpied Ganimede, and with that the Clowne
rofe, and running to meete him cried. Oh firha, a match, a match, our Miflres fhall
be maried on Sunday. Thus the poore peafant frolickt it before Ganimede, who
comming to the crue faluted them all, and efpecially Rosader, faying that hee was
glad to fee him fo well recouered of his wounds. I had not gone abroade fo foone
quoth Rosader, but that I am bidden to a marriage, which on Sunday next mufl bee
folempnized betweene my brother and Aliena. 1 fee well where Loue leades delay
is loath fome, and that fmall wooing femes, where both the parties are willing. Truth
quoth Ganimede : but a happie day fhould it be, if Rosader that day might be mar-
ried to Rosalynde. Ah good Ganimede (quoth he) by naming Rosalynde renue not
38o APPENDIX
my forrowes : for the thought of her perfe<5lioiis, is the thrall of my miferies. Tnlh,
bee of good cbeere man quoth Ganimede, I haue a friend that is deeply «xperien(i in
Negromancie and Mogicke, what arte can doo fhall bee a(5led for thine aduantage : I
will caufe him to bring in Rosalynde, if either France or anie bordering Nation har-
bour her ; and vpjx>n that take the faith of a young Shepheard. Aliena fmilde to fee
how Rosadcr frownde, thinking that Ganimede had iefled with him. But breakii^
off from thofe matters, the Page (fomewhat pleafant) began to difcoorfe vnto them
what had pafl betweenc him and Phoel)e : which as they laught, fo they wondred at ;
all confelTmg, that there is none fo chad but Loue will change. Thus they pafl away
the day in chat, and when the Sunne began to fet, they tooke their leaues and
departed : Aliena prouiding for their marriage day fuch folempne cheere and hand-
fome roabes as fitted their countrey eflate, & yet fomewhat the better, in that Rosader
had promifed to bring Gerismond thether as a gued. Ganimede (who then meant to
difcouer her felfe before her father, had made her a gowne of greene, and a kirtle of
the fineil fendall, in fuch fort that (he feemed fome heauenly Njrmph harboored m
Countrey attire.
Saladyne was not behind in care to fet out the nuptials, nor Rosader ynmindfull to
bid guefls, who inuited Gerismond and all his Followers to the Feafl : who willinglye
graunted ; fo that there was nothing but the daye wanting to this marriage. In the
meaue while, Phoebe being a bidden guefl, made her felfe as goi^ous as might be to
pleafe the eye of Ganimede ; and Montanus futed himfelfe with the cod of manj of
his flocks to be gallant againd that day ; for then was Ganimede to giue Phcebe an
anfwere of her loues, and Montanus either to heare the doome of his miferie, or the
cenfure of his happinelTe. But while this geare was a bruing, Phoebe pafl not one
day without vifiting hir Ganimede, fo farre was (hee wrapt in the beauties of this
louely Swaine. Much prattle they had, and the difcourfe of manie paffions, Phoebe
wifhing for the daye (as (hee thought) of her welfare, and Ganimede fmiling to thinke
what vnexpe(5led euents would fall out at the wedding. In thefe humours the weeke
went away, that at lad Sundaye came.
No fooner did Phoebus Hench man appeare in the Skie, to giue warning that his
maders horfes (houlde bee trapt in his glorious couch, but Coridon in his holiday fate
meruailous feemely, in a rufTet iacket welted with the fame, and faced with red
worded, hauing a paire of blew chamlct lleeues, bound at the wreds with foare yeolow
laces, clofed afore verie richly with a dofTen of pewter buttons : his hofe was of gray
karfie, with a large flop bard ouerthwart the pocket holes with three fair gards, ditcbt
of either fide with red thred, his dock was of the own fewed clofe to his breech, and
for to beautefie his hofe, he had trud himfelf round with a dofen of new thredden
points of medley coulour : his bonnet was greene whereon dood a copper brooch with
the pi(5lure of Saint Denis : and to want nothing that might make him amorous in lus
olde dayes, he had a fa3rre fhyrt band of fine lockram, whipt ouer with Couentrey
blew, of no fmall cod.
Thus attired, Coridon bedird himfelfe as chiefe dickler in thefe a<5lions, and had
drowed all the houfe with flowers, that it feemed rather fome of Floraes choyoe
bowers, than anie Countrey cottage.
Thether repaired Phoebe with all the maides of the forred to fet out the bride in the
mod feemelied fort that might be : but howfoeuer (he helpt to pranke out Aliena, yet
her eye was dill on Ganimede, who was fo neate in a fute of gray, that he feemed
Endymion when hee won Luna with his lookes, or Paris when he plaide the Swaine
to get the beautie of the Nymph Oenone. Ganimede like a prettie Page waited cm
LODGE'S ROSALYNDE 381
his MKlreffe Aliena, 8nd ouerlookt that a1 was in a readinefle againft the Bridegroome
Ihoulde come. Who attired in a Forreflers fute came accompanied with Gerismond
and his brother Rosader early in the morning ; where arriued, they were folempnlie
entertained by Aliena and the red of the Countrey Swaines, Gerismond verie highly com-
mending the fortunate choyce of Saladyne, in that had chofen a ShepheardelTe, whofe
vertues appeared in her outward beauties, being no leffe faire than feeming modefl.
Ganimede comming in and feeing her Father began to blu(h, Nature working
affe<5b by her fecret effe(5ls : fcarce could (he abdaine from teares to fee her Father in
fo lowe fortunes : he that was wont to fit in his royall Pallaice, attended on by twelue
noble peeres, now to be contented with a fimple Cottage, and a troupe of reuelling
Woodmen for his traine. The confideration of his fall, made Ganimede full of for-
rowes : yet that fliee might triumph ouer Fortune with patience, and not anie way
dafh that merrie day with her dumpes, ftiee fmothercd her melancholy with a Ihad-
dow of mirth : and verie reuerently welcommed the King, not according to his former
degree, but to his prefent edate, with fuch diligence, as Gerismond began to com-
mend the Page for his exquifite perfon, and excellent qualities.
As thus the King with his Forreflers frolickt it among the (hepheards, Coridon
came in with a faire mazer full of Sidar, and prefented it to Gerismond with fuch a
clownifh falute, that he began to fraile, and tooke it of the old Ihepheard verie kindly,
drinking to Aliena and the red of her faire maides, amongd whom Phoebe was the
formod. Aliena pledged the King, and drunke to Rosader : fo the carrowfe went
round from him to Phoebe, &c. As they were thus drinking and readie to goe to
Church, came in Montanus apparailed all in tawney, to fignifie that he was forfaken ; on
his head he wore a garland of willowe, his bottle hanged by his fide whereon was painted
defpaire, and on his (heephooke hung two fonnets as labels of his loues & fortunes.
Thus attired came Montanus in, with his face as full of griefe, as his heart was of
forrowes, (hewing in his countenance the map of extremities. Affoone as the Shep-
heards faw him, they did him all the honour they could, as being the flower of all the
Swaines in Arden : for a bonnier boy was there not feene fince the wanton Wag of
Tray that kept fheep in Ida. He feeing the king, and gefling it to be Gerismond,
did him all the reuerence his countrey curtefie could affoord. Infomuch that the
King wondring at his attire, began to quedion what he was. Montanus ouerhearing
him made this replie.
I am fir quoth he Loues Swaine, as full of inward difcontents as I feeme fraught
with outward follies. Mine eyes like Bees delight in fweete flowers, but fucking
their full on the faire of beautie, they carrie home to the Hiue of my heart farre more
gall than honnie, and for one droppe of pure dcaw, a tunne full of deadly Aconiton,
I hunt with the Flie to purfue the Eagle, that flying too nigh the Sunne, I perifh with
the Sunne : my thoughts are aboue my reach, and my defires more than my fortunes ;
yet neither greater than my I^ues. But daring with Phaeton, I fall with Irarus, and
feeking to pafTe the meane, I dye [for being fo mean, ray night fleeps are waking
flombers, as full of forrowes as they be far from refl, & my dayes labors are fruitleffe
amors, daring at a flar and dombling at a draw, leaning reafon to follow after repent-
ance : yet euery pafTion is a pleafure thogh it pinch, becaufe loue hides his worme-
feed in flgs, his poyfons in fweet potions, & fhadows preiudize with the mafke of
pleafure. The wifed counfellers are my deep difcontents, and I hate that which
fhould falue my harm, like the patient which dung with the Tarantula loaths mufick,
and yet the difeafe incurable but by melody. Thus (Sir) redlefle I hold my felfe
remediles, as louing without either reward or regard, and yet louing, bicaufe there is
382 APPENDIX
none worthy to be loued, but the miftrefTe of my thoughts. And that I am as ftill of
paflions as I haue difcourfl in my plaintes, Sir if you pleafe fee my Sonnets, and by
them cenfure of my forrowes.
Thefe wordes of Montanus brought the king into a great wonder, amazed as much
at his wit as his attire : infomuch that he tooke the papers off his hooke, and read
them to this effeifl.
Montanus firft Sonnet.
Ahts hew wander I amid/i thefe woods.
Whereas no day bright Jhine dothfinde acceffi :
But where the melancholy fleeting floods
(Darke as the night) my night of woes exprejfe,
Difarmde of reafon^fpoilde of natures goods.
Without redreffe tofalue my heauineffe
I walke, whilest thought [too cruell to my harmes)
With endles grief my heedles iudgement charmes.
My ftlent tongue affailde by fecret feare,
My traitrous eyes imprifoned in their ioy.
My fatall peace deuourd infained cheare.
My heart inforfl to harbour in annoy.
My reafon robde of power by yeelding eare.
My fond opinions flaue to euery toy.
Oh Loue thou guide in my vncertaine way.
Woe to thy bow, thy fire, the caufe of my decay,
£t florida pungunt.
When the King had read this Sonnet, he highly commended the deuice of the
fhepheard, that could fo wittily wrap his paffions in a (haddow, and fo couertly com-
ceale that which bred his chiefell difcontent: affirming, that as the lead (hnibs hane«
their tops, the fmalled haires their (hadowes : fo the meaneft fwaines had their fan-
cies, and in their kynde were as charie of Loue as a King. Whetted on with this
deuice, he tooke the fecond and read it : the effe(5ls were thefe.
Montanus fecond Sonnet.
When the Dog
Full of rage.
With his irefull eyes
Frownes amidfl thefkies
The Shepheard to affwage
The fury of the heat,
Himfelfe doth fafely feat
By a fount
Full of fair e.
Where a gentle breath
[Mounting from beneath)
Tempreth the aire.
There his flocks
Drinke their fill.
And with eafe repofe
Whilest fweet fleep doth clofe
Eyes from toylfome ill.
LODGES ROSALYNDE 383
But J bume
Without reft.
No defen/ttu power
Shields from Phoebes lower:
Sorrow is my best.
Gentle Loue
Lowre no more.
If thou wilt inuade^
In the fecret fhade^
Labour not fo fore.
I myfelfe
And my flocks
They their loue to pUafe^
I myfelfe to eafe.
Both leaue thefhadie oakes :
Content to bume in fire
Saith Lone dothfo deftre,
Et florida pungimt.
Gerismond feeing the pithy vaine of thofe Sonets, began to make further enquiry
what hee was ^ Whereupon ^osader difcourft vnto him the loue of Montanus to
Phoebe, his great loialtie & her deep crueltie : and how in reuenge the Gods had
made the curious Nymph amorous of yoong Ganimede. Vpon this difcourfe, y« king
was defirous to fee Phoebe / who being broght before Gerismond by Rosader, (had*
owed the beauty of her face with fuch a vermilion teinture, that the Kings eyes began
to dazle at the puritie of her excellence. After Gerismond had fed his lookes a
while vpon her faire, he queflioned with her, why (he rewiu-ded Montanus loue with
fo little regard, feeing his defertes were many, and his pafTions extreame. Phoebe to
make reply to the Kings demaund, anfwered thus : Loue (Hr) is charitie in his lawes,
and whatfoeuer hee fets downe for iuftice (bee it neuer fo vniuft) the fentence cannot
be reuerfl .* womens fancies lende fauours not euer by defert, but as they are infoHl
by their defires : for fancy is tied to the wings of Fate, and what the ilarres decree,
(lands for an infallible doome. I know Montanus is wife, & womens ears are greatly
delighted with wit, as hardly efcaping the charme of a pleafant toong, as Vlisses the
melody of the Syrens. Montanus is bewtifulj, and womens eyes are fnared in the
excellence of obie(5ls, as defirous to feede their lookes with a faire face, as the Bee to
fuck on a fweet floure. Montanus is welthy, and an oimce of giue me perfwades a
woman more than a pound of heare me. Danae was won with a golden (hower,
when (he could not be gotten with all the intreaties of lupiter .* I tell you fir, the
firing of a womans heart reacheth to the pulfe of her hand, and let a man rub that
with gold, & tis hard but (he wil prooue his hearts gold. Montanus is yoong, a great
claufe in fancies court : Montanus is vertuous, the riched argument that Loue yeelds :
& yet knowing all thefe perfe<5lions I praife them, and wonder at them, louing the
qualities, but not a(re<5ling the perfon, becaufe the Dedenies haue fet downe a con-
trary cenfure. Yet Venus to ad reuenge, hath giue me wine of y« fame grape, a fip
of the fame fauce, & firing me with the like pa(riO, hath croft me with as il a penance :
for I am in loue with a (hepheards fwaine, as coy to mee as I am cruel to Montanus,
as peremptory in difdain as I was pemerfe in defire, & that is (quoth (he) Alienaes
page, yong Ganimede.
384 APPENDIX
Gerismond defirous to profecute the ende of thefe ptffions, called in Ganimede .*
who knowing the cafe, came in graced with fuch a blufli, as heautiBed the Chriflall
of his face with a ruddie brightnefle. The King noting well the phifnomy of Gani-
mede^ began by his fauours to cal to mind the face of his Rosalynd, and with that
fetcht a deepe figh. ^osader that was paHing familiar with Gerismond, demanded
of him why he fighed fo fore ^ Becaufe ^osader (quoth hec) the fauour of Gani-
mede puts mee in minde of Rosalynde. At this word, Rosader fight fo deepely as
though his heart would haue burfl. And whats the matter (quoth Gerismond) that
you quite mee with fuch a figh ^ Pardon mee fir (quoth Rosader) becaufe I loue
none but ^osalynd. And vpon that condition (quoth Gerismond) that ^osalynd were
here, I would this day make vp a marriage betwixt her and thee. At this Aliena
tumd her head and fmilde vpon Ganimede, and (hee could fcarce keep countenance.
Yet fliee falued all with fecrecie, and Gerismond to driue away fuch dumpes, quef-
tioned with Ganimede, what the reafon was he regarded not Phoebes loue, feeing (he
was as faire as the wantO that brought Troy to mine. Ganimede mildly anfwered.
If I (huld affecfl the fair Phoebe, I (hould offer poore Montanus great wrong to winne
that from him in a moment, that hee hath labored for fo many monthes. Yet haue I
promifed to the bewtiful (hepheardeHe, to wed my felf neuer to woman except vnto
her : but with this promise, y' if I can by reafon fuppreffe Phoebes loue towards me,
(he (hall like of none but of Montanus. To y' q. Phoebe I (land, for my loue is (b
far beyond reafon, as it wil admit no perfuafion of reafon. For iuftice q. he, I appealo
to Gerismond : and to his cenfure wil I (land q. Phoebe. And in your ▼idloiy q.
Montanus (lands the hazard of my fortunes : for if Ganymede go away with conqneft,
Montanus is in conceit loues Monarch, if Phoebe winne, then am I in effe(5l mod mif>
erable. We wil fee this controuerfie q. GerismOd, & then we will to church : there-
fore Ganimede let vs heare your argument. Nay, pardon my abfence a while (quoth
(hee) and you (hall fee one in (lore. In went Ganimede, and dred her felf in womans
attire, hauing on a gowne of greene, with kirtle of rich fandall, fo quaint, that (he
feemed Diana triumphing in the Forred : vpon her head (he wore a chaplet of Rofes,
which gaue her fuch a grace, y' (he looked like Flora pearkt in the pride of all hir
fioures. Thus attired came Rosalind in, & prefented her felf at her fathers feete,
with her eyes full of teares, crauing his ble(rmg, & difcourfing vnto him all her for-
times, how (hee was banifiied by Torismond, and how euer fince (he lined in that
country difguifed.
Gerismond feeing his daughter, rof^ from his feat & fel vpon her necke, vtteringr
the pa(rions of his ioy in watry plaints driuen into fuch an extafie of content, that hee
could not vtter one word. At this fight, if Rosader was both amazed & ioyfiill, I
refer my felfe to the iudgement of fuch as haue experience in loue, feeing his Rosa-
lynd before his face whom fo long and deeply he had affe(5led. At lad Gerismond
recouered his fpirites, and in mod fatherly tearmes entertained his daughter ^osa-
lynd, ader many quedions demanding of her what had pad betweene her and Rosa-
der. So much fir (quoth (he) as there wants nothing but your Grace to make vp the
marriage. Why then (quoth Gerismond) Rosader take her, fhee is thine, and let this
day folcmnize both thy brothers and thy nuptials, Rosader beyond meafure cOtent,
humbly thanked the king, & imbraced his Rosalynde, who turning to Phoebe, de-
manded if (he had (hewen fu(ficient reafon to fuppreffe the force of her loues. Yea
quoth Phoebe, & fo great a perfwafiue, that if it pleafe you Madame and Aliena to
giue vs leaue, Montanus and I will make this day the thirde couple in marriage. She
had no fooner fpake this word, but Montanus, threw away his garland of willow, his
LODGES ROSALYNDE 385
bottle, where was painted difpaire, & cafl his fonnets in the fire, (hewing himfelfe as
frolicke as Paris when he hanfeled his lone with Helena. At this Gerismond and the
red fmiled, and concluded that Montanus and Phoebe fhould keepe their wedding
with the two brethren. Aliena feeing Saladjrne Aand in a dumpe, to wake him from
his dreame began thus. Why how now my Saladyne, all a mort, what melancholy
man at the day of marriage ^ perchaunce thou art forrowfull to thinke on thy brothers
high fortunes, and thyne owne bafe defires to chufe fo raeane a (hepheardize. Cheare
vp thy hart man, for this day thou (halt bee married to the daughter of a King : for
know Saladyne, I am not Aliena, but Alinda the daughter of thy mortal enemie Toris-
mond. At this all the company was amazed, efpecially Gerismond, who rifmg vp,
tooke Alinda in his armes, and faid to ^osalynd : is this that faire Alinda famous for
fo many vertues, that forfoke her fathers court to Hue with thee exilde in the country ?
The fame q. ^osalynde. Then quoth Gerismond, turning to Saladine, iolly Forrefter
be frolick, for thy fortunes are great, & thy defires excellent, thou haft got a princeffe
as famous for her perfedlion, as exceeding in proportion. And (he hath with her
beauty won (quoth Saladyne) an humble feruant, as full of faith, as (he of amiable
fauour. While euery one was amazed with thefe Comicall euentes, Coridon came
fkipping in, & told them that the Prieft was at Church and tarried for their comming.
With that Gerismond led the way, & the reft followed, where to the admiration of all
the countrey fwains in Arden^ their mariages were (olemnly folemnized. As foone as
the Prieft had finifhed, home they went with Alinda, where Coridon had made all
things in readines. Dinner was prouided, & the tables being fpread, and tlie Bridea
fet downe by Gerismond, Rosader, Saladyne, & Montanus that day were feruitors :
homely cheare thay had, fuch as their country could affoord : but to mend their fare
they had mickle good chat, and many difcourfes of their loues and fortunes. About
mid dinner, to make them mery Coridon came in with an old crowd, and plaid them
a fit of mirth, to which he fung this pleafant fong.
Coridons Song.
A blyth and bonny country LaffCy
heigh ho the bonny Lajfe :
Satefighing on the tender graffe^
and weeping faid^ will none come woo me ?
A fmicker boy^ a lyther Swaine^
heigh ho a fmicker Swaine :
Thai in his Loue was wanton faine^
withfmiling looks Jlraight came vnto her,
fVhen as the wanton wench efpide^
heigh ho when/he espide
The meanes to make her/elfe a bride,
Jhe ftmpred fmooth like bonny bell:
The Swaine that f aw her f quint eied kind
heigh ho /quint eyed kind.
His armes about her body twind,
and /aire Laffe^ ho^v /are ye, wellt
The country kit /aid well /or/oath,
heigh ho well/or/ooth.
But that I haue a longing tooth,
a longing tooth that makes me crie:
as
386 APPENDIX
Alas /aid he what garres thy grief e f
heigh ho what garres thy griefe f
A w<mnd quoth Jhe without reliefer
Ifeare a maid that IJhall die.
If that be all the fhepheard faid
heigh ho the fhepheard faid^
lie make thee wiue it gentle maide^
andfo recure thy maladie.
Hereon they kist with manie a oath^
heigh ho with manie a oath^
And fore God Pan did plight their troath,
and to the Church they hied them fast.
And God fend euerie pretie peate
heigh ho the pretie peate
Thatfeares to die of this conceate^
fo kinde a friend to helpe at last,
Coridon hauing thus made them merrie : as they were in the midA of all their
ioUitie, word was brought in to Saladyne and Rosader, that a brother of theirs, one
Fernandyne was arriued, and defired to fpeake with them. Gerismond ouer hearing
this newes, demaunded who it was ? It is fir (quoth Rosader) our middle brother,
that lyues a Scholler in Paris : but what fortune hath driuen him to feek vs out I
know not. With that Saladyne went and met his brother, whom he welcommed with
all curtefie, and Rosader gaue him no lefTe friendly entertainment : brought hee
by his two brothers into the parlour where they al fate at dinner. Fernandyne
one that knewe as manie manners as he could points of fophiflrie, & was afwell
brought vp as well lettered, faluted them all. But when hee efpied Gerismond,
kneeling on his knee he did him what reuerence belonged to his eflate : and with
that burft foorth into thefe fpeaches. Although (right mightie Prince) this day of my
brothers manage be a day of mirth, yet time craues another courfe : and therefore
from daintie cates rife to fliarpe weapons. And you the fonnes of Sir lohn of BouT'
deaux^ leaue off your amors & fall to armes, change your loues into lances, and now
this day (hewe your felues as valiant, as hethertoo you haue been paffionate. For
know Gerismond, that hard by at the edge of this forreft the twelue Peeres of France
are vp in Armes to recouer thy right ; and Torisihond troupt with a crue of defperate
runnagates is ready to bid them battaile. The Armies are readie to ioyne : therfore
(hew thy felfe in the field to encourage thy fubiecfU ; and you Saladyne & Rosader
mount you, and (hewe your felues as hardic fouldiers as you haue been heartie louers :
fo (hall you for the benefite of your Countrey, difcouer the Idea of your fathers ver-
tues to bee (lamped in your thoughts, and proue children worthie of fo honourable a
parent. At this alarum giuen by Fernandyne, Gerismond leapt from the boord, and
Saladyne and Rosader betook themfelues to their weapons. Nay quoth Gerismond,
goe with me I haue horfe and armour for vs all, and then being well moimted, let vs
(hew that we carrie reuenge and honour at our fawchions points. Thus they leaue
the Brides full of forrow, efpecially Alinda, who defired Gerismond to be good to her
father : he not returning a word becaufe his had was great, hied him home to his
Lodge, where he deliuered Saladyne and Rosader horfe and armour, and himfelfe
armed royally led the way : not hauing ridden two leagues before they difcouered
^
LODGES ROSALYNDE 387
where in a Valley both the battailes were ioyned. Gerismond feeing the wing
wherein the Peeres fought, thruft in there, and cried Saint Denis, Gerismond laying
on fuch loade vppon his enemies, that hee (hewed how highly he did eftimate of a
Crowne. When the Peeres perceiued that their lawfull King was there, they grewe
more eager : and Saladyne and Rosader fo behaued themfelues that none durfl (land
in their way, nor abide the furie of their weapons. To be (hort, the Peeres were
conquerours, Torismonds armie put to flight, and himfelfe flaine in battaile. The
Peeres then gathered themfelues together, and faluting their king, condu(5led him
royallie into Faris, where he was receiued with great ioy of all the citizens. A(roone
as all was quiet and he had receiued againe the Crowne, hee fent for Alinda and
Rosalynde to the Court, Alinda being verie pa(rionate for the death of her father :
yet brooking it with the more patience, in that (he was contented with the welfare of
her Saladyne. Well, affoone as they were come to Paris ^ Gerismond made a royall
Feaft for the Peeres and Lords of his Lande, which continued thirtie dayes, in which
time fummoning a Parliament, by the consent of his Nobles he created Rosader heire
apparant to the kingdom he reAored Saladyne to all his fathers lande, and gaue him
the Dukedome of iVbm^Mrj, he made Femandyne principall Secretarie to hhnfelfe;
and that P'ortune might euerie way feeme frolicke, he made Montanus Lord ouer all
the Forred of Arden : Adam Spencer Captaine of the Kings Gard, and Coridon
Master of Alindas Flocks.
Here Gentlemen may you fee in Euphues golden Legacie^ that fuch as neglect
their fathers precepts, incurre much preiudice ; that diuifion in Nature as it is a blem>
ish in nurture, so tis a breach of good fortunes ; that vertue is not measured by birth
but by acflion ; that yonger bretheren though inferiour in yeares, yet may be superiour
to honours : that concord is the fweeted concluTion, and amitie betwixt brothers more
forceable than fortune. If you gather any frutes by this Legacie, fpeake well of
Euphues for writing it, and me for fetching it If you grace me with that fauour,
you encourage me to be more forward : and a(roone as I haue ouerlookt my labours,
expect the Sailers Kalender,
T. Lodge.
388 APPENDIX
DURATION OF THE ACTION
In Othello and in The Merchant of Venice of this edition, Shakespeare's remark-
able, artistic management of Time in The Duration of the Action is duly noted and
set forth. In Othello the requirements of the Tragedy demand the utmost haste;
there must bo given to the Moor and to Desdemona not a chance for mutual expla-
nations, the blow must fall swift as lightning in the coUied night, and yet before our
eyes the show of a slow and reluctant growth of jealousy must gradually pass, and
every faint unfolding of the passion be presented. Accordingly, when Desdemona is
murdered within thirty-six hours after her arrival in Cyprus, Shakespeare's art has
induced the belief that her ill-starred career has been watched by us for weeks and
months.
Again, in The Merchant of Venice I endeavored to show that the term of a Bond
for three months is made to nm its full course within twenty-four hours after it is
signed and sealed, and yet so consummate and so potent is Shakespeare's art that this
monstrous absurdity is enacted before our very eyes without our being aware of it; on
the contrary, it all seems as natural as if we had watched month by month the slow
flight of time, and marked the smug Anthonio slowly change into the haggard bank-
rupt. This is no chance effect, no happy accident, in these two plays alone, but this
same legerdemain deals with the time, or the duration of the action, in As You Liki
It also. (I noticed it cursorily in the Preface to Hamlet ^ as also true of that play.)
That it is pure, genuine, cunningly devised and constructed art, and not hap-hazard
chance, we know, because we can by close examination detect the steps whereby
the end is gained, we can trace out and spell the syllables of the charm by which
the mighty Magician sways our moods and makes us think we count the hours
we do not. It is, however, by careful scrutiny alone that we can wring the secret
from these plays; we need not hope to do it while they are acted before us on
the stage. Then it is, as Christopher North says, that *■ a good-natured Juggler has
* cheated our eyes. We ask him to show us how he did it. He does the trick
* slowly, — and we see. " Now, good Conjurer, do it slowly and cheat us." " I
* " can't. I cheat you by doing it, qjiickly. To be cheated you must not see what
*"I do; but you must thinh that you see." When we inspect the Play in our
'closets, the Juggler does his trick slowly. We sit at the Play, and he docs it
* quick.*
This * trick ' is Shakespeare's art in dealing with Time. By one series of allusions
to time we are either hurried forward with that speed which is an essential element
of dramatic action, or else the past is brought vividly before us as the present; by
another series we are thrust back, Time's foot is made inaudible and noiseless, the
present recedes and we hear only echoes from the past ; and then before us slowly
and deliberately unfolds the gradual growth of character.
Although from the very nature of the plot this dual treatment of time does not
enter as largely into As You Like It ?& \n the other plays which I have mentioned,
yet Shakespeare's artistic dealing with it may be traced as distinctly here as else-
where. But in order to appreciate the need in this play of any such use of dual
time, let me first very briefly note the dramatic treatment of the plot and mark the
development of an idea, which I shall not call * central,* lest I be understood as inti-
mating that this delightful comedy is that thing of shreds and patches, a ' tendenz-
* drama,' a drama with a purpose, — and yet this idea comes in as a motive for much
of the action. Other motives there are which modify the action, but in order to see
DURATION OF THE ACTION 389
the need of this dual time I wish to regard as one of the main springs Marlowe's
* saw of might : " Who ever loved that loved not at first sight ?'* *
I^t us suppose, then, that this *■ love at first sight ' is to be treated dramatically.
We must see its first flash, then mark its slow and steady confirmation, and, finally,
its triumph. This love is to be pure, absolute, boundless both in the maa and in the
woman. Orlando is to fall in love with Rosalind's *■ heavenly ' beauty, and Rosalind
is to fall in love with Orlando's manly strength and physical prowess. This strength
and this prowess can be shown best by contrast. Hence a wrestling match with the
professional champion of the land. But wrestling with a professional champion is
hardly the sport for a gentleman. Hence Orlando is to be of gentle birth, but tem{X)-
rarily abased. A father's authority carries with it so much respect that were Orlando
thus degraded by his father, he could not but fall somewhat in our estimation. Hence
Orlando, who has been decidedly a favorite of his father's, is now degraded unjustly,
and only for a time, by a cruel elder brother. If this play were to be a tragedy, this is
the point where the circumstances must be devise^which are to make the loves of the
young couple ill-starred, and raise an almost insurmoxmtable barrier between the lovers;
but as it is tc be a comedy, a sufficient obstruction will be found in the degradation of
the lover, — a degradation which had to be, but which while it lasts will effectually debar
Orlando from wooing the high-bom Rosalind. Hence they must both be made to meet
where the distinctions of rank are obliterated. It is not a difficult problem to drive
off Orlando to the Forest of Arden. But how to get Rosalind there ? It is no easy
matter to drive from court an innocent, guileless young girl so that not the faintest
stain shall attach to her name. Of course it cannot be for any actual misdeed, but
only on suspicion, — suspicion absolutely groundless, but fostered by one who is power-
ful enough to drive her forth. Here, again, for the same reason as in Orlando's case,
it must not be a father who banishes her ; this would partake of tragedy. Hence it is
an uncle who e?(iles her, and the only suspicion, absolutely groundless, under which
an artless, innocent young girl could fall would be that of treachery against the
throne. This could be aroused only in the breast of one who felt his claim to the
throne to be unjust, and whose usurped position he imagined to be so insecure that a
slight, frail girl could disseat him. Hence the peremptory sentence of banishment
pronounced on Rosalind by a most suspicious usurping uncle. The flight of Gany-
mede and Aliena follows, and as naturally follows the flight of Orlando from his
ruthless elder brother, and in the Forest of Arden the course of love can flow on
without a ripple. The most difficult problem of the dramatist is now solved. A
knot which seemed too intrinse to unloose has been untied. And be it observed
most especially that the suspicion felt by the usurping Duke is, in that solution, a
most important, a most vital, indeed, a most indispensable, element Without it
Rosalind could never have been sent to Arden in doublet and hose. It is com-
paratively easy for a dramatist to send a man, disguised or undisguised, to the ends
of the earth, but for a lovely young girl to be sent forth disguised in man's apparel,
without the faintest forfeiture of our respect, this is the labor, this the toil. And her
uncle's suspicion is, of all others, the potent factor to effect this.
However stirring may have been the action before we reach the Forest of Arden,
as soon as we have entered within that * immortal umbrage * where no care comes,
there must be a calm, — the calm of a long settled repose.
Of course we all know that Shakespeare found the leading features of this story
made to his hand in Lodge's Novel, if not (which I think quite likely) in some weak-
ling drama that he remodelled. But then he it was who discerned the dramatic
390 APPENDIX
capabilities of the Novel or of the play, and how fold on fold the drama must dis-
close probabilities in a natural secjuence. It is in his dealing with this sequence that
we can mark his treatment of Time, and, perchance, discover why the necessity was
imposed on him of offering us here a ' fair enchanted cup.'
It is to help in the discovery of Shakespeare's *two clocks' that I have just
exposed, in rude, rough style, the framework of the play, wherein it now remains to
note the allusions to time past, or to time present, which are interwoven.
When the play opens it is necessary that the senior Duke's banishment should be
recent, so recent that the usurping Duke feels his grasp of the sceptre most insecure.
Time can have given to the traitor no prescriptive right. * \Vhat is the new news at
the new court V asks Oliver. * There's no news,' answers Charles, * 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.' The impression
here conveyed is clear enough. The banishment is spoken of almost in the present
tense. And if the news is called ' old,' it may be so called on the assumption that
its limit of life is nine days. At any rate, it is not so * old ' but that the * younger
brother ' is called the *■ new Duke,' and the report of the banishment has not yet had
time (and such news travels fast) to reach Oliver in all its details. Oliver's resi-
dence cannot be far removed from the ducal court, the wrestling match was quite in
bis neighborhood, and yet Oliver neither knows where the banished Duke has gone,
nor whether Rosalind has accompanied her father. * She is at the court,' Charles
informs him, ' and no less beloved of her uncle than his own daughter.' *■ Where
will the old Duke live ?* asks Oliver. * Thty say^ replies Charles, * he is already in
the Forest of Arden, — they say^ many young gentlemen flock to him every day.'
There can be no shadow of a doubt that the Duke's banishment is most recent.
Sufficient time has not elapsed wherein to obtain exact information of his where-
abouts. Had the Duke's banishment lasted many months, or even many weeks, some
authentic reports would have come back from him, and the public would be fully
aware whether he were acquiescing in his exile or gathering forces to resist. The
vagueness of the information concerning his movements or his habitation proves con-
clusively that he had only just been driven from his throne. The * new court * cannot
be many weeks old. It is so * new ' that *bfi iP"^y news in it is the event which
created it. There had been no time for even another piece of gossip to be started.
That Charles's ignorance was shared by the public, and was not due to his exclusion
from the inner court circle, is clear from the fact that in regard to Rosalind and her
position in the * new court ' he was fully informed ; on any point that could be posi-
tively known his information is positive.
It is impossible, it seems to me, to evade the impression which is conveyed in this
opening scene, that the old Duke has only just been banished. Since we are study-
ing the conjurer's trick in our closets and making him do it slowly, it is of great
importance not only to mark well this first deep impression regarding the recent ban-
ishment of the Duke, but also to discern clearly why it is important, and then after
we have seen it serve its purpose we must watch the cunning conjurer waive it back
into the past, and the colors, now bright and fresh as from the dyer's hand, become
before our very eyes worn and faded with the 'seasons* difference.* ^
Accepting then, as Shakespeare intended we' should, the Duke's banishment to
be recent, it will be manifest that sufficient time has not elapsed to allow the social
upheav.il to subside, and there will be no need to tell us that the treacherous usurper
eats his meal in fear and sleeps in the affliction of terrible dreams that shake him
DURATION OF THE ACTION 391
nightly. This follows as of course, and gives us the clue to understand why the
mere mention to the usurping Duke by Orlando of Sir Rowland de Boys's name is
sufficient to kindle the spark which blazes into a fury of suspicion against Rosalind.
How essential to the plot this suspicion against Rosalind is, we have seen. It is an
indispensable element. It is one of the main springs. This suspicion against a
gentle girl can be accounted for only by the usurper's extreme terror. This extreme
terror is accounted for by his feeling of insecurity. His insecurity arises from the
newness of his position. And the newness of his position is due solely to the fact
that his elder brother has only just been banished. This recent banishment supplies
the motive which drives Rosalind from court to the Forest of Arden. It is vital to
the movement of the First Act. But how long are its effects to last ? Clearly, not
long. Social upheavals are dangerous to meddle with, on or off the stage. * Abys-
mal inversions of the centre of gravity,' as Carlyle terms them, belong to tragedy, if
anywhere; and if their memories were kept up here, the turbulence of the times
would show its effects on the exiled Duke, and we should find him in the Forest of
Arden still distraught and dishevelled after his compulsory banishment. The peace-
ful quiet of a woodland comedy cannot breathe amid such scenes. Therefore after
the explosion of wrath and suspicion from the usurper which drives forth both Rosa-
lind and Oliver, there is no longer need of this present impression of the recent
civil strife ; indeed, it would be destructive of the comedy ; and so, having woven
its spell around us and solved dramatic difficulties, it is gently effaced by vague,
misty allusions to the past; and that which happened but yesterday begins to
recede into the dark Imckward of time ; days take the place of hours, and months
of days, and we count the time by the chimes of another clock which the cunning
conjurer, before our very eyes but without our seeing it, has substituted for the
old one.
Perhaps the first faint intimation of the lapse of time — and it is very faint but still
marked enough to create an impression — is afler the wrestling, when the usurping
Duke says to Orlando, * The world esteemed thy father honourable, But I did find him |
still mine enemy.' This must refer to old Sir Rowland's loyalty to the senior Duke and
his hostility to the usurper during the recent crisis, the only time as far as we know
when any proofs of enmity could have been evoked. But the first impression con-
ceming old Sir Rowland which we receive, in the very opening of the play, is thai
he has been dead several years, at least long enough to account for Orlando's neg-
lected education. This passing reference, then, to Sir Rowland's enmity during his
lifetime to the usurping Duke weakens the impression that the coup d^itat is so very
recent, and for one second carries that event with it back into the past, and there is a
fleeting vision of unflinching loyalty long years ago to the exiled Duke in the stres*
that then drove him from his throne.
This allusion, which has swiftly come and swiftly gone, is closely followed by an-
other allusion to time long past, more marked, as it ought to be, than the former, and
which can scarcely fail to leave a still more decided impression. Le Beau says to
Orlando immediately after the wrestling : * But I can tell you that of late this duke Hath i
ta'en displeasure 'gainst his gentle niece. Grounded upon no other argument But that
tfte people praise her for her virtues.^ Charles, the Wrestler, told us that Rosalind was
* no less beloved of her uncle than his own daughter.' To turn love thus deep into
* displeasure ' time will be required ; and visions arise before us of a blameless life
lived by Rosalind in the sight of all men, week by week, and month by month, full
of patient submission and deeds of gentle kindness, and not alone winning all hearts.
392 APPENDIX
but winning them so strongly that the murmurs of applause swell till at last the^
reach the throne.
Deep as this impression is of the slow flight of time, and remote as the banish-
ment of the Duke is beginning to grow, this impression is followed up by anothei
still dee|)er. When the usurping Duke, half crazed by suspicion, wrathfully ban-
ishes Rosalind, Celia intercedes for her cousin, and recalls to her cruel father that
when he *■ stay'd Rosalind,' and she had not *■ with her father ranged along,* be had
done it out of pity and of love for his own daughter, but, pleads Celia, * I was too
YOUNG THAT TIME to value her; But Now I know her,' and then she goes on to pic-
ture the years that have passed since that time in her unconscious childhood when
the Duke was banished, and how since then she and Rosalind have grown up
together, how they had learned their lessons together, played together, slept together,
rose at an instant, ate together, and wherever we went * like Juno's swans still we
went coupled and inseparable.' It is necessary only to cite this passage ; comment
on it is impertinent ; no one can evade the impression of years, passing and passed,
which it conveys.
But to one fact attention must be called, and this is, the extreme importance,
dramatically, of making, just at this point, the time of the Duke's banishment recede
into the past. As a present active force its power is spent. It was of vital import-
ance to quicken the usurper's suspicion and to cause him to drive Rosalind forth. It
is now equally important that it should recede into the past and, for two reasons, grow
dim through a vista of years. First, the next Act is to open in the Forest of Arden ;
there for the first time we see the banished Duke. No chill air of tragedy can be
suffered to disturb the repose of that * immortal umbrage,' and all traces of a brother's
perfidy and treachery must be obliterated ; in things evil we must discern the soul
of goodness, and recognize it in that philosophic calm which years of exile have 1
brought to the Duke; all thoughts of recent turbulence or of recent violence, so
necessary in the first Act, must here, when we first see the exiled Duke, give place
to that imperturbable serenity and acquiescence with fate which is the benison of
time. Hence it is that the Second Act opens with the immortal lines:
* 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 ?
Here feel we not the penalty of Adam,
The seasons* difference.^
\
Are not * old custom ' and * the seasons' difference * * the very lime-twigs ' of Shake-
speare's spell ? Why else are they here mentioned, if not to catch us with memories
of years gone by ? Can it be doubted for a moment that Shakesi>eare did not here
intend us to believe that the Duke had lived through many a seasons' difference, or
that custom to him had not grown old ? Indeed, I think it may be truthfully said
that Batiiurst speaks for us all when he says (p. 76) : * The elder Duke has long
been banished, and is quite contented with his situation.'
The gentle conjurer's legerdemain is over, and the * trick * is done. The deep
impression of the First Act has been effaced in preparation for the Second. The
bells, on which the hours in the First Act were struck close to our eare, have been
dextrously muffled, and we hear them now only faintly as from the dim digtai^cet
V
DURATION OF THE ACTION 393
Henceforth there is but little need of any allusion either to fai>t or to slow move-
ment of time, other than to make us believe that Orlando has been long enough in
the Forest of Arden to write love-songs in the bark of the trees, and that he goes
wooing every day to Rosalind's sheep-cote.
I have just said that there are two reasons why, dramatically, it is necessary for us
to suppose that the Duke has been long an exile in Arden ; the reason which has just
been given is, I think, of itself quite sufficient. But there is yet another, which ren-
ders a long sojourn there by the Duke, at least of many, many months, if not of years,
almost, if not absolutely, imperative. Unless the impressions are obliterated that the
Duke's exile is * new news,' and that Jaques and Amiens and the rest have only just
fled fix)m the court and flocked to Arden, — unless, I say, these impressions are oblite-
rated, how can we possibly understand why Jaques or the Duke, when they met Touch-
stone in the Forest, did not instantly recognise him, familiar to them as he must have
been in and about the court. A fool of Touchstone's stamp could not be overlooked
under any circumstances, and if once seen and heard at any court, be it at the lawful
Duke's or at the usurper's, he could not afterwards be readily forgotten. Yet Jaques
had apparently never before seen him, and the Puke certainly had not. That this
incongruity never occurs to us when sitting at the play shows how powerless we have
been all along in fencing our ears against Shakespeare's sorcery, and how completely
he has overmastered us in his treatment of dramatic time. If Jaques fails to recog-
nise Touchstone as a court fool. Touchstone fails to recognise Jaques as a courtier.
Yet when Touchstone is about to be married by the hedge -priest and Jaques interferes,
Touchstone at once recognises and salutes Jaques as his former companion, when he
moralised the time. So that their failure to recognise each other at that first meeting
could have been due to no lack of observation, and would have been impossible, does
it not seem, if Jaques and the rest had only just left the * envious court ' a few weeks
before, or as short a time before as we were convinced that they had left it, in the
First Act ? The conclusion, therefore, is to me inevitable, that the impression which
Shakespeare wished to make on us is that the Duke and Jaques and the rest had been
so long fleeting the time carelessly in the Poorest of Arden that a new set of courtiers
had arisen in their old court at home, almost a new generation since their exile had
begun.
The student will find the passages indicating * Long Time * and * Short Time *
gathered together in The Cowden-Clarke's Shakespeare Key, the second great debt
which all of us owe to one of the sharers of that honoured union. Daniel {New
Shakspere Society^ Series I, Part ii) has made a * Time- Analysis ' of this play, wherein,
however, by counting, in the right butter woman's rank to market, the mornings, noons,
and nights mentioned in the play, and by dividing them up into days, he finds that
there are *ten days represented on the stage, with such sufficient intervals as the
reader may imagine for himself as requisite for the probability of the plot.' He is not
blind (p. 156) to the difficulties of reconciling to the onward flow of the plot, the
Duke's ' old custom ' or Celia's pleadings with her father, but attempts no solution.
■i
394 APPENDIX
ENGLISH CRITICISMS
Dr Johnson : Of this play the fable is wild and pleasing. I know not how the
ladies will approve the facility with which both Rosalind and Celia give up their
hearts. To Celia much may be forgiven for the heroism of her friendship. The cha-
racter of Jaques is natural and well preserved. The comic dialogue is very sprightly,
with less mixture of low buffoonery than in some other plays ; and the graver part is
elegant and harmonious. By hastening to the end of this work, Shakespeare sup-
pressed the dialogue between the usurper and the hermit, and lost an opportunity of
exhibiting a moral lesson in which he might have found matter worthy of his highest
powers.
Francis Gentleman {^Dramatic Censor y i, 478, 1770) : We make no scruple to
affirm that As You Like It will afford considerable instruction from attentive perusal,
with great addition of pleasure from adequate representation.
Mrs Inchbald (1808) : This comedy has high reputation among Shakespeare's
works, and yet, on the stage, it is never attractive, except when some actress of very
superior skill performs the part of Rosalind. This character rwjuires peculiar talents
in representation, because it has so large a share of the dialogue to deliver ; and the
dialogue, though excellently written and interspersed with various points of wit, has
still no forcible repartee or trait of humour, which in themselves would excite mirth,
independent of an art in giving them utterance. Such is the general cast of all the
other personages in the play that each requires a most skilful actor to give them their
proper degree of importance. But, with every advantage to As You Like It in the
performance, it is a more pleasing drama than one which gives delight. The reader
will, in general, be more charmed than the auditor ; for he gains all the poet, which
neither the scene nor the action much adorn, except under particular circumstances.
Shakespeare has made the inhabitants of the Forest of Arden appear so happy in
their banishment, that when they are called back to the cares of the world, it seems
more like a punishment than a reward. Jaques has too much prudence to leave his
retirement; and yet, when his associates are departed, his state can no longer be envi-
able, as refined society was the charm which seemed here to bestow on country life
its more than usual enjoyments. Kemble's Jaques is in the highest estimation with
the public ; it is one of those characters in which he gives certain bold testimonies of
genius, which no spectator can controvert, yet the mimic art has very little share in
this grand exhibition. Mrs Jordan is the Rosalind both of art and of natu)^; each
supplies its treasures in her performance of the character, and render it a perfect
exhibition.
Hazlitt (p. 305, 181 7) : It is the most ideal of any of this author's plays. It is
a pastoral drama in which the interest arises more out of the sentiments and charac-
ters than out of the actions or situations. It is not what is done, but what is said,
that claims our attention. \ Nursed in solitude, * under the shade of melancholy
boughs,' the imagination grows soft and delicate, and the wit runs riot in idleness,
like a spoiled child that is never sent to school. Caprice and fancy reign and revel
here, and stem necessity is banished' to the court. The mild sentiments of humanity
are strengthened with thought and leisure ; the echo of the cares and noise of the
world strikes upon the ear of those * who have felt them knowingly,' softened by time
ENGLISH CRITICISMS 395
and distance. < They hear the tumult, and are still/ The very air of the place seems
to breathe a spirit of philosophical poetry; to stir the thoughts, to touch the heart with
pity, as the drowsy forest rustles to the sighing gale. Never was there such beautiful
moralising, equally free from pedantry or petulance Within the sequestered and
romantic glades of the Forest of Arden, they find leisure to be good and wise or to
play the fool and fall in love. Rosalind's character is made up of sportive gayety and i,
natural tenderness ; her tongue runs the faster to conceal the pressure at her heart. 1
She talks herself out of breath, only to get deeper in love. The coquetry with which ^
she plays with her lover in the double character which she has to support is managed
with the nicest address The silent and retired character of Celia is a necessary
relief to the provoking loquacity of Rosalind The unrequited love of Silvius
for Phoebe shows the perversity of this passion in the commonest scenes of life, and
the rubs and stops which Nature throws in its way where fortune has placed none.
Blackwood's Magazine (April, 1833, P- 559) • We call As You Like It the only
true * Romance of the Forest.* Touching as it is, and sometimes even pathetic, 'tis
all but beautiful holiday amusement, and a quiet melancholy alternates with various
mirth. The contrivance of the whole is at once simple and skilful, — art and nature
are at one. We are removed just so far out of our customary world as to feel willing
to submit to any spell, however strange, without losing any of our sympathies with all
life's best realities. Orlando, the outlaw, calls Arden * a desert inaccessible ' ; and it
is so ; yet, at the same time, Charles the King's wrestler's accoimt of it was correct,
* They say he is already in the Forest of Arden, .... where they fleet the time care-
lessly as they did in the golden world.' The wide woods are full of deer, and in
op>en places are feeding sheep. Yet in the brakes * hiss green and gilded snakes,'
whose bite is mortal, and * under the bush's shade a lioness lies couching.' Some
may think * they have no business there.' Yet give they not something of an imag-
inative * salvage ' character, — a dimness of peril and fear to the depths of the forest ?
Campbell (1838) : Before I say more of this dramatic treasure, I must absolve
myself by a confession as to some of its improbabilities. Rosalind asks her cousin
Celia, * Whither shall we go ?' and Celia answers, * To seek my uncle in the Forest
of Arden;' but arrived there, and having purchased a cottage and sheep-farm,
neither the daughter nor niece of the banished Duke seem to trouble ^ themselves
much to inquire about either father or uncle. The lively and natural -hearted Rosa-
lind discovers no impatience to embrace her sire until she has finished her masked
courtship with Orlando. But Rosalind was in love, as I have been with the comedy
these forty years; and love is blind; for xmtil a late period my eyes were never
couched so as to see this objection. The truth, however, is love is wilfully blind,
and now that my eyes are opened, I shut them against the fault. Away with your
best-proved improbabilities when the heart has been touched and the fancy fasci-
nated ! WTien I think of the lovely Mrs Jordan in this part, I have no more desire
for proofs of probability on this subject, though * proofs pellucid as the morning dews,'
than for * the cogent logic of a bailiff's writ.* In fact, though there is no rule without
exceptions, and no general truth without limitation, it may be pronounced, that if you
delight us in fiction you may make our sense of probability slumber as deeply as you
please.
But it may be asked whether nature and truth are to be sacrificed at the altar of
fiction ? No ! in the main effect of fiction on the fancy they never are nor can be
396 APPENDIX
sacrificed. The improbabilities of fiction are only its exceptions, whilst the tmth of
nature is its general law ; and unless the truth of nature were in the main observed,
the fictionist could not lull our vigilance as to particular improbabilities. Apply this
maxim to Shakespeare's As You Like //, and our Poet will be fomid to make us for*
get what is eccentric from nature in a limited view, by showing it more beautifully
probable in a larger contemplation. In this drama he snatches us out of the busy
world into a woodland solitude ; he makes us breathe its fresh air, partake its pas-
toral peace, feast on its venison, admire its bounding wild deer, and sympathise with
its banished men and simple rustics. But he contrives to break its monotony by the
intrusion of courtly manners and characters. He has a fool and a philosopher, who
might have hated each other at court, but who like each other in the forest He has
a shepherdess and her wooing shepherd, as natural as Arcadians ; yet when the ban-
ished court comes to the country and beats it in wit, the courtiers seem as much natu-
ralised to the forest as its natives, and the general truth of nature is equally pre-
served.
The events of the play are not numerous, and its interest is preserved by characters
more than incidents. But what a tablet of characters ! the witty and impassioned
Rosalind, the love-devoted Orlando, the friendship-devoted Celia, the duty-devoted
old Adam, the humorous Qown and the melancholy Jaques ; all these, together with
the dignified and banished Duke, make the Forest of Arden an Elysium to our
hnagination ; and our hearts are so stricken by these benevolent beings that we easily
forgive the other once culpable but at last repentant characters.
Hallam {Literature of Europe ^ ii, 396, 1839) : The sweet and sportive temper
of Shakespeare, though it never deserted him, gave way to advancing years and to
the mastering force of serious thought. What we read we know but very imper-
fectly; yet, in the last years of this century, when five and thirty summers bad
ripened his genius, it seems that he must have transfused much of the wisdom of past
ages into his own all-combining mind. In several of the historical plays, in Tlie Mer'
chant of Venice, and especially in As You Like Ity the philosophic eye, turned inward
on the mysteries of human nature, is more and more characteristic ; and we might
apply to the last comedy the bold figure that Coleridge has less appropriately
employed as to the early poems, that * the creative power and the intellectual energy
wrestle as in a war embrace.' In no other play, at least, do we find the bright imag-
ination and fascinating grace of Shakespeare's youth so mingled with the thoughtful-
ness of his maturer age. This play is referred with reasonable probability to the year
1600. Few comedies of Shakespeare are more generally pleasing, and its manifold
Improbabilities do not much affect us m..^aq]^l. The brave injured Orlando, tbe
sprightly but modest Rosalind, the faKhful Adkn, the reflecting Jaques, the serene
and magnanimous Duke, interest us by utmsrtfaough the play is not so well managed
as to condense our sympathy, and direct it to the conclusion.
W. W. Lloyd (Singer's Edition, 1856, p. 120) : The usurper pays the penalties
of a falsely-assumed position ; his very lords characterise him justly when they speak
in an undertone, and warn away from the range of his passion those whom he is fit-
fully incensed against. His very daughter disowns the ill-bought advancement he
would provide for her, and slips from his side to accompany in peril and privation a
victim of his jealousy. Thus in every form of loyalty, comp>assion, duty, and affectioo»
whether spirited, tender, sentimental, or grrotesque, the better spirits fly by natara!
ENGLISH CRITICISMS 397
attraction to a more congenial centre, and in all happy companionship. The lords,
Amiens, Jaques, and the pages, tender free duty to an exiled master ; Celia proffers
companionship to her banished cousin without ostentation, and it is accepted without
set acknowledgement, because in the same sympathetic spirit in which it was made ;
old* Adam with limping gait, but with the best heart he may, goes on with his young
master ; while Touchstone follows his mistress as devotedly as the best, perhaps the
most devotedly of all, for he is the only one of them all who, as he is carried along
by the current of his attachment, has still the faculty of contemplating his wanderings
philosophically, of appreciating his sacrifices, whether in friendship or marriage, cor-
rectly, without making them one whit less willingly. Perhaps Jaques, in his parody
of Amiens' song, approaches the critical vein of Touchstone pretty closely, but he is
inferior in that mixed vein of self-observation and self-knowledge, which approximates
Touchstone at one time to Mr Pepys, and at another to Michel de Montaigne.
Halliwell [Introduction, p. 71) : Though said to be oftener read than any other
of Shakespeare's plays. As You Like It is certainly less fascinating than several of
his other comedies. The dramatist has presented us with a pastoral comedy, the cha«
racters of which, instead of belonging to an ideal pastoral age, are true copies of what
Nature would produce under similar conditions The poet has relieved the
development of a melancholy subject and an insignificant story by the introduction of
a more than usual number of really individual subordinate characters. Even Rosa*
lind, that beautiful but wilful representation of woman's passion, is not an important
accessory to the moral purpose of the comedy ; and the other characters, however
gracefully delineated, are not amalgamated into an artistic action with that full power
which overwhelms us with astonishment in the grander efibrts of Shakespeare's
genius.
Bathurst (p. 76) : It is the very pleasantest and sweetest of plays, sprinkled
with a good deal of seriousness ; and some unhappiness, but none of it cuts deep.
The elder Duke has long been banished, and is quite contented with his situation.
The distress of Orlando and Adam is speedily relieved. Rosalind and Celia, happy
from the first, in each other's company, are quite gay and cheerful when they get into
the forest. Even the bad brother partakes of the general sunshine, and is let off very
easily, kindly, and pleasantly, though not with any great probability. The cheerful-
ness of this play is delicate, however, and gentle. There are not the coarse gayetiei
(if anything Shakespeare did can be called coarse) of Falstaff and his companions,
or of the people in Olivia's house ; nor the bad conceits of Romeo ^ Juliet. It is a
play of conversation more than action, on the whole, and of character. Some of the
characters, as Jaques and Touchstone, are shown in what they say merely ; not what
they do.
Heraud (p. 235) : The poet, in conceiving this fine work, first generated a lofty
V ideal. His aim was to set forth the power of patience as the panacea for earth's .lis
\ and the injustice of fortune, and self-command as the condition without which the
power would be inoperative. Neither this power nor its condition can be easily illus
vated in the life of courts ; but the sylvan life, such as the banished Duke and his
companions live in Arden, is favourable to both. In the contrast between the two
states of life lies the charm of the play, and the reconciliation of these formal oppo
sites is the fulfilment of its ideal.
398 APPENDIX
MOBERLY {^Introduction^ p. 6, 1872) : In the Introduction to Hamlet an attempt
has been made to show how a tendency to melancholy sprang naturally out of the
very circumstances of Shakespeare's time; and how the noble spirits of that day
occupied themselves in battling against it. The same truths, which are so strongly
impressed on us by Hamlet's losing battle against sadness, over-reflection, and want
of practical force, are in this play touched with a light and genial hand. It seems
written to show how the most depressing circumstances, even if continued year after
year, may utterly fail to sink a generous heart into despondency. | Orlando has been
ill-treated in every way by his tyrannical elder brother, but his good qualities come
out only the more by this perpetual bruising. He never loses the elasticity of mind
and generosity of impulse which is to carry him through all. One fortunate stroke
of audacity, by enabling him to defeat the professional athlete, seems likely to open
to him a path leading to honour and rank such as his birth entitles him to hold. But
the hope is dashed, as soon as it is conceived, by the dark jealousy of the usurping
Duke against the family beloved by his banished brother. Then Orlando fail^Jorji
moment in courage and hopefulness ; he considers himself * a rotten tree * that will
yield no fruit for any pruning. Yet the sad' words have- bwHily^pas^eiJlisJipa-wilen"'
he is already anticipating some * settled low content ;' and, in the next scenes, when
we Bnd him in the company of the banished Duke, he has cast all gloom aside, has
nothing to say against ' any breather in the world ' except himself, against whom be
knows more evil than against any one else ; and is contented to proclaim his love for
Rosalind to any one who will listen to him, without any desponding thoughts as to
the hardness of his destiny. / As volatile as one of Alfred de Musset's heroes, he has,
in all and through all, a nrm ground of healthy English sense and truthfulness,
which entitles him to serve as a typ>e of those gallant youths who from so many a
creek and inlet of Devonshire and Cornwall went forth in Shakespeare's day to war
against the Spaniard.
Orlando's Rosalind is his exact counterpart, shaped for his love by similarity of
destiny ; but with this difference, that she acquiesced in her former lot of dei>endence
and was only unsettled in her contentment, first, by the Duke's taunt against her
father, which her true and bold spirit could not endure, and then by her unjust ban-
ishment. Afler this, in her *■ doublet and hose,' with Celia in some degree dependent
on her, she blazes into energy and vivacity ; she has spirit enough for her own affairs
and for half a dozen plots beside, and tact enough to make them all run prosperously
up to the time when the fourfold wedding comes to settle all. Her skill in repartee
is as great as Beatrice's ; but there is none of the malice which has to be got rid of in
Much Ado About Nothing by such a course of rigorous discipline. Rosalind never
stings without strong and good reason, and in the interest of truth and right. When
she does, however, she shows a talent for saying truth * the next way ' which any pro-
fessional moralist might envy.
The third gradation of cheerfulness appears in the banished Duke. He is happy,
not by youth and animal spirits, like the two others, but by reflection. His character
is such that he is able to maintain his state and dignity in the forest as easily as at
the court, controlling his followers without an effort, and correcting their crude reflec-
tions in a moment by his superior thought and moral force. His good-humour is all-
embracing ; he loves to * cope * with those whose whole tone of mind is opposed to
his own, and at once enters into the * swift and sententious * spirit of Touchstone,
when that eminent person is at last introduced to him, and produces the choicest
flowers of his wit, which he had reser\'ed till then ; and as a matter of course the
ENGLISH CRITICISMS 399
Duke has long ago reconciled himself to his life of banishment and deprivation, and
learned to find happiness in the very feeling of contact with nature unalloyed.
To furnish a marked contrast to these characters, to assail them one afler another
with attempts to shake their trust in mankind, to whisper sneers against love and
happiness, to suggest that their life, simple though it is, still has tlie taint of the world
upon it, and to patronise enthusiastically such rascalities as accident brings there,
is the part assigned to the melancholy Jaques; a character created, with consum-
mate skill, to throw the whole meaning of the play into a clear light and to bring
out the moral lesson conveyed by it. He has been most profligate in his youth ; has
travelled in Italy, the mother of all iniquities, to gain experience there; and has
spent his estate in so doing. He is therefore persuaded that the knowledge of
human nature which he has thus gained will be of great service to the world, if it
can only be induced to listen. But how instantly and how humiliatingly he is put to
the rout by the three glad hearts which he tries to sour ! Orlando absolutely refuses
to rail against the world in his company, and reciprocates with hearty good-will,
although jocosely, all Jaques^s expressions of antipathy to his ways of thinking.
Rosalind sarcastically asks him about his travels. What have they done for him ?
Has he learned to despise home dress and home manners ? sold his own lands to aee
other people's ? learned to chide God for making him the countryman he is ? And
what is this melancholy of which he boasts ? Something as bad or worse than the
most giddy merriment; something that incapacitates him for action as completely
and more permanently than drunkenness. Above all, the Duke tells him, without
the slightest reserve, although with perfect good-humour, that bis gifts as a moralist
can do nothing for the world; that his former life unfits him to be a reformer; that
if he attempts such a task, he will only corrupt the world by his experience ; and to
all these buffetings, right hand and left, Jaques replies in a way which shows he is
incapable of understanding the depth of their meaning. He escapes from Rosalind
and Orlando because he does not like the < blank verse ' they talk ; and shirks the
admonition of the Duke and all its serious wisdom, by arguing that no one would
have a right to be offended by satire of a general character, or need apply it to him-
self, — as if the Duke had been admonishing him to avoid offending others and not to
avoid corrupting others.
There are traces of great family troubles which afflicted Shakespeare up to within
a few years of the time when this play was written, and probably up to that time.
When we read of his own father being ' warned ' from Stratford Market, and imable
to come to church for fear of arrest, this certainly gives much reality to the sad reflec-
tion on the * poor and broken bankrupt * typified by the wounded stag.
The deep sorrowfulness of the subjects chosen by the poet in the years following
1600 leads us to follow up the hint thus given ; for between this time and his death
we have not only the four tragedies, Hamlet, Lear, Macbeth, and Othello, but also
the gloomy subject of Timon of Athens, and in comedies (if they may be so called)
the sterner and severer types of Measure for Measure and The Tempest. As, there-
fore, we cannot help seeing that the same struggle against melancholy lasted through
Shakespeare's life, we shall not be mistaken in seeing the same indications of his
nature in As You Like It. This play was, therefore, one of the earlier attempts made
by the poet to control the dark spirit of melancholy in himself by a process which a
great writer (Dr Johnson) well versed in his subject has described as hopeless, that
of * thinking it away.* With this plan in view, he, as it were, held it up to view in
many lights, in order to set up a standard for himself against it, — ^with what effect on
400 APPENDIX
himself we can only partially judge, fixsm our extreme ignorance of the events of his
later life. But even if Shakespeare's efforts to free himself from the clinging plague
were unavailing (as we must needs suppose), they are still calculated to do for others
what they could not do for him. Any one who will may learn from As You Like It,
that the secret of true cheerfulness is to be found in Horace's words, Mihi res non
me rebus subnectere conor ; who treats the state of things in which he finds himself
not as a stem unbending order under which his powers as well as his resistance must
be crushed, but an arrangement capable of seconding all his endeavours for a high and
cheerful life, and of furnishing instruction, help, and encouragement whenever and
wherever they are needed.
Hudson {^Introduction^ p. 22, 1880) : The general drift and temper, or, as some
of the German critics would say, the ground-idea of this play is aptly hinted by the
title. As for the beginnings of what is here represented, these do not greatly concern
us ; most of them lie back out of our view, and the rest are soon lost sight of in what
grows out of them ; but the issues, of which there are many, are all exactly to our
mind ; we feel them to be just about right, and would not have them otherwise. For
example, touching Frederick and Oliver, our wish is that they should repent and
repair the wrong they have done ; in brief, that they should become good ; which is
precisely what takes place ; and as soon as they do this, they naturally love those who
were good before. Jaques, too, is so fitted to moralise the discrepimcies of human
life, so happy and at home, and withal so agreeable in that exercise, that we would
not he should follow the good Duke when in his case those discrepancies are com-
posed. The same might easily be shown in respect of the other issues. Indeed, I
dare ask any genial, considerate reader. Does not everything turn out as you like itP |
Moreover, there is an indefinable something about the play that puts us in a receptive ^
frame of mind ; that opens the heart, soothes away all quenilousness and fault-finding,
and makes us easy and apt to be pleased. Thus the Poet here disposes us to like
things as they come, and at the same time takes care that they shall come as we like.
The whole play, indeed, is as you like it.
(P. 24) : As far as I can determine the matter. As You Like It is, upon the whole,
my favourite of Shakespeare's comedies. Yet I should be puzzled to tell why ; fof
my preference springs not so much from any particular points or features, wherein it
/ is surpassed by several others, as from the general toning and effect. The whole is
replete with a beauty so delicate, yet so intense, that we feel it everywhere, but can
never tell esp>ecially where it is or in what it consists. For instance, the descriptions
of forest scenery come along so unsought, and in such easy, quiet, natural touches
that we take in the impression without once noticing what it is that impresses us.
Thus, there is a certain woodland freshness, a glad, free naturalness, that creeps and
steals into the heart before we know it And the spirit of the place is upon its inhab-
itants, its genius within them ; we almost breathe with them the fragrance of the For-
est, and listen to ' the melodies of woods, and winds, and waters,' and feel
The Power, the Beauty, and the Majesty,
That have their haunts in dale, or piny mountain,
Or forest by slow stream, or pebbly spring.
Even the court Fool, notwithstanding all the crystallising process that has passed upoil
him, undergoes a sort of rejuvenescence of his inner man, so that his wit catches at
ENGLISH CRITICISMS 401
cyery turn the fresh hues and odours of his new whereabout. I am persuaded,
indeed, that Milton had a special eye to this play in the lines.
And sweetest Shakespeare, Fancy's child,
Warbles his native wood-notes wild.
To all which add, that the kindlier sentiments here seem playing out in a sort of
jubilee. Untied itom. set purposes and definite aims, the persons come forth with
their hearts already tuned, and so have but to let off their redundant music. Envy,
jealousy, avarice, revenge, all the passions that afflict and degrade society, they have
left in the city behind them. And they have brought the intelligence and refinement
of the court without its vanities and vexations ; so that the graces of art and the sim-
plicities of nature meet together in joyous, loving sisterhood. A serene and mellow
atmosphere of thought encircles and pervades the actors in this drama, as if on pur-
pose to illustrate how
One impulse from a vernal wood
May teach you more of man,
Of moral evil, and of good.
Than all the sages can.
Nature throws her protecting arms around them; Beauty pitches her tent before them;
Heaven rains its riches upon them, with *■ no enemy but winter and rough weather ' ;
Peace hath taken up her abode with them ; and they have nothing to do but to ' fleet
the time carelessly, as they did in the golden world.' But no words of mine, I fear,
will justify to others my own sense of this delectable workmanship. I can hardly
think of anything else in the whole domain of Poetry so inspiring of the faith thai
* every flower enjoys the air it breathes.* The play, indeed, abounds in wild, frolic-
some graces which cannot be described ; which can only be seen and felt ; and which
the hoarse voice of criticism seems to scare away, as the crowing of the cocks is said
to have scared away the fairy spirits from their nocturnal pastimes.
y
Neil {^Introduction^ p. 10) : When we read this drama, we see that it recognises
Love as the pivot and centre of activity and joy — the very core of life. It has been
said that its chief end was to * dally with the innocence of love.* It surely, however,
has a higher aim than that. When we observe that all the evils in the play originate
in the neglect of the royal law of life : * Thou shalt love thy neighbour as thyself,*
and that all the good results flow from obedience to that Divine rule ; when we see
how Selfishness complicates, and Love explicates, the plot, — may it not be that As
You Like It is a Divine morality as well as a charming play ? In these words :
< As ye would that men should do to you, do jt also to them likewise,' the Supreme
Parablist states the law of life in its social relations ; and may not the great drama-
tist, seeing the fine moral teaching underlying the heavenly maxim, have resolved to
show, as in a magic mirror, a little bit of the Eden possible in the world, were the
higher sympathies of its denizens ruled by the love commended to us by the wisdom
of the incarnated Ix)rd of Life ? On this ground we may regard Shakespeare as
indicating his intention by the significance with which he renders into verse the say-
ing : * There is joy in the presence of God over one sinner that repenteth,* bringing
out beautifully the fine At-one-mtnt which the following out of the Redeemer*s pre-
cept, ' As you like it done to you, so do,* would effect in the lines : < Then is there
mirth in heaven When earthly things made even At-one together.'
96
402 APPENDIX
DoWDEN (p. 76) : Shakspere, when he had completed his English historical
plays, needed rest for his imagination; and in such a mood, craving refreshment
and recreation, he wrote his play of As You Like It. To imderstand the spirit of
this play, we must bear in mind that it was written immediately after Shakspere's
great series of tragedies. Shakspere turned with a sense of relief and a long ease-
ful sigh from the oppressive subjects of history, so grave, so real, so massive, and
found rest and freedom and pleasure in escape from courts and camps to the Forest
of Arden.
(P. So) : Upon the whole. As You Like It is the sweetest and happiest of all
Shakspere's comedies. No one suffers ; no one lives an eager, intense life ; there is
no tragic interest in it as there is in The Merchant of Venice^ as there is in Much Ado
about Nothing, It is mirthful, but the mirth is sprightly, graceful, exquisite ; there is
none of the rollicking fun of a Sir Toby here ; the songs are not < coziers' catches,'
shouted in the night-time, * without any mitigation or remorse of voice,' but the solos
and duets of pages in the wild-wood, or the noisier chorus of foresters. The wit of
Touchstone is 'not mere clownage, nor has it any indirect serious significances; it is a
dainty kind of absurdity, worthy to hold comparison with the melancholy of Jaques.
And Orlando in the beauty and strength of early manhood, and Rosalind, — ^'A gallant
curtle-axe upon her thigh, A boar spear in her hand,' and the bright, tender, loyal
womanhood within, — are figures which quicken and restore our spirits as music does,
which is neither noisy nor superficial, and yet which knows little of the deep passion
and sorrow of the world.
Shakspere, when he wrote this idyllic play, was himself in his Forest of Arden.
He had ended one great ambition, — the historical plays,— and not 3ret commenced
his tragedies. It was a resting-place. He sends his imagination into the woods to
find repose. Instead of the court and camps of England and the embattled plains
of France, here was this woodland scene where the palm tree, the lioness, and the
serpent are to be found ; possessed of a flora and fauna that flourish in spite of phjrs-
ical geographers. There is an open*air feeling throughout the play After the
trumpet tones of Henry F comes the sweet pastoral strain, so bright, so tender. Must
it not be all in keeping ? Shakspere was not trying to control his melancholy. When
he needed to do that, Shakspere confronted his melancholy very passionately, and
looked it full in the face. Here he needed refreshment, a sunlight tempered by
forest-boughs, a breexe upon his forehead, a stream murmuring in his ears.
FuRNiVALL {Introduction to The Leopold Shakspere, p. Ivii) : The picture is not
painted in the same high key of colour as Much Ado, Instead of the hot sun of Beat-
nce's and Benedick's sharp wit-combats, with its golden reds and yellows, backed by
the dark clouds of Hero's terrible distress, we have a picture of greys and greens and
blues lit through a soft haze of silvery light. Rosalind's rippling laugh comes to us
from the far-off forest glades, and the wedded couples' sweet content reaches us as a
strain of distant melody.
Lady Martin {JBlackwood^s Magazine, October, 1884, p. 404) : When I resolved
to make a thorough study of the play, I little thought how long, yet how fascinating,
a task I had imposed upon myself. With every fresh perusal new points of interest
and of charm revealed themselves to me ; while, as for Rosalind, < she drew me on to
love her ' with a warmth of feeling which can only be understood by the artist who
has found in the heroine she impersonates that 'something never to be wholly
ENGLISH CRITICISMS 403
known/ those 8tig|i;estionB of bigli qualities answerable to all the contingencies or trials
of circumstance, by which we are captivated in real life, and which it is her aim
and her triumph to bpng home to the hearts and imaginations of her audience as
they have come home to her own. Often as I have played Rosalind since, I have
never done so without a fresh study of the play, nor without finding in it something
that had escaped me before. It was ever, therefore, a fresh delight to bring out as
best I could in action what had thus flashed upon me Ih my hours of meditation, and
to try to make this exquisite creature as dear and 'fascinating to my audience as she
had become to myself. In the very acting I learned much ; for if on the stage you
leave your mind open to what is going on around you, even an unskilful actor by your
side — and I need not say how much more a gifted one — may, by a gesture or an
intonation, open up something fresh to your imagination. So it was I came to love
Rosalind with my whole heart ; and well did she repay me, for I have often thought
that in impersonating her I was aUe to give full expression to what was best in myself
as well as in my art.
(P. 406) : To me i^ J You Like It seems to be as much a love-poem as Romeo 6f*
Juliety with this difference : that it deals with happy love, while the Veronese story
deals with love crossed by misadventure and crowned with death. It is as full of
imagination, of the glad rapture of the tender passion, of its impulsiveness, its gene-
rosity, its pathos. No ' hearse-like abs,' indeed, come wailing by, as in the tale of
those *■ star-crossed lovers,' to warn us of their too early ' overthrow.' All is blended
into a rich harmonious music which makes the heart throb, but never makes it ache.
Still, the love is not less deep, less capable of proving itself strong as death ; neither
are the natures of Orlando and Rosalind less touched to all the fine issues of that
passion than those of 'Juliet and her Romeo.*
Is not love, indeed, the pivot on which the action of the play turns, — ^love, too, at
first sight ? Does it not seem that the text the poet meant to illustrate was that which
he puts into Fbebe's mouth : ' Who ever loved, that loved not at first sight V Love
at fust sight, like that of Joliet and Romeo, is the love of Rosalind and Orlando, of
Celia and Oliver, and of Fhebe herself for Ganymede. The two latter pairs of lovers
are perhaps but of little account, but is not the might of Marlowe's saw as fully exem-
plified in Rosalind and Orlando as in the lovers of Verona ?
(P. 435) : No word escapes from Rosalind's lips as we watch her there [in the
last Scene, after the entrance of Jaques de Bois], the woman in all her beauty and
perfect grace, now calmly happy, beside a father restored to ' a potent dukedom,' and
a lover whom she knows to be wholly worthy to wield that dukedom when in duo
season she will endow him with it as her husband. Happiest of women ! for who
else ever bad such means of testing that love on which her own happiness depends ?
In all the days that are before her, all the largeness of heart, the rich imagination, the
bright commanding intellect, which made her the presiding genius of the Forest of
Arden, will work with no less beneficent sway in the larger sphere of princely duty.
With what delight will she recnr with her lover-husband to the strange accidents of
fortune which * forced sweet love on pranks of saucy boyhood,' and to the never-to-
be-forgotten hours when he was a second time < o'erthrown ' by the wit, the playful
wiles, the inexplicaUe charm of the young Ganymede ! How, too, in all the grave
duties of the high position to which his alliance will raise him, will he not only pos-
sess in her an honoured and admired companion, but will also find wise guidance
and support in her clear intelligence and courageous will ! It is thus, at least, that I
dream of my dear Rosalind and her Orlando.
404 APPENDIX
[In the following extracts there is a rude classification of the judgements passed
on the several characters, which is as exact, perhaps, as circumstances permit. In the
preceding pages there are, of course, allusions to the different characters, but it has
not been deemed possible to detach them from their context without injury.]
Rosalind
Mrs Jameson {Characteristics of Wometiy 1833, vol. i, p. I4i)s I come now to
Rosalind, whom I should have ranked before Beatrice, inasmuch as the jg^reater degree
of her sex's softness and sensibility, united with equal wit and intellect, give her the
superiority as a woman; but that as a dramatic character she is inferior in force.
The portrait is one of infinitely more delicacy and variety, but of less strength and
depth
(P. 145) : Though Rosalind is a princess, she is a princess of Arcady; and not-
withstanding the charming effect produced by her first scenes, we scarcely ever think
of her with a reference to them, or associate her with a court and the artificial append-
ages of her rank. She was not made to ' lord it o*er a fair mansion ' and take state
upon her like the all-accomplished Portia; but to breathe the free air of heaven and
frolic among green leaves. She was not made to stand the siege of daring profligacy,
and oppose high action and high passion to the assaults of adverse fortune, like Isabel,
but to * fleet the time carelessly, as they did i' the golden age.' She was not made to
bandy wit with lords, and tread courtly measures with plumed and warlike cavaliers,
like Beatrice, but to dance on the green sward and * murmur among living brooks •
music sweeter than their own.'
Though sprightliness is the distinguishing characteristic of Rosalind, as of Beatrice,
yet we find her much more nearly allied to Portia in temper and intellect The tone
of her mind is, like Portia's, genial and buoyant ; she has something too of her soft-
ness and sentiment ; there is the same confiding abandonment of self in her affections;
but the characters are otherwise as distinct as the situations are dissimilar. The age
the manners, the circumstances in which Shakespeare has placed his Portia, are not
beyond the bounds of probability ; nay, have a certain reality and locality. We fancy
her a contemporary of the Raffaelles and the Ariostos ; the sea-wedded Venice, its
merchants and Magniticos, — the Rialto, and the long canals, — ^rise up before us when
we think of her. But Rosalind is surrounded with the purely ideal and imaginative ; the
reality is in the characters and in the sentiments, not in the circumstances or 'situation.
Portia is dignified, splendid, and romantic ; Rosalind is playful, pastoral, and pictm>
esque ; both are in the highest degree poetical, but the one is epic and the other Ijrric.
Everything about Rosalind breathes of ' youth and youth's sweet prime.' She is
fresh as the morning, sweet as the dew-awakened blossoms, and light as the breeze
that plays among them. She is as witty, as voluble, as sprightly as Beatrice; but in a
style altogether distinct. In both, the wit is equally unconscious ; but in Beatrice it
plays about us like the lightning, dazzling but also alarming I while the wit of Rosa-
lind bubbles up and sparkles like the living fountain, refreshing all around. Her
volubility is like the bird's song ; it is the outpouring of a heart filled to overflowing
with life, love, and joy, and all sweet and affectionate impulses. She has as much
tenderness as mirth, and in her most petulant raillery there is a touch of softness :
< By this hand it will not hurt a fly !' As her vivacity never lessens our impression of
her sensibility, so she wears her masculine attire without the slightest impugnment of
her delicacy. Shakespeare did not make the modesty of his women depend on their
ENGLISH CRITICISMS-'ROSALIND 405
dress, as we shall sec further when we come to Viola and Imogen. Rosalind has, in
truth, * no doublet and hose in her disposition.' How her heart seems to throb and
flutter under her page's vest ! What depth of love in her passion for Orlando ! whether
disguised beneath a saucy playfulness, or breaking forth with a fond impatience, or
half betrayed in that beautiful scene where she faints at the sight of the kerchief
stained with his blood ! Here her recovery of her self-possession, her fears lest she
should have revealed her sex, her presence of mind and quick-witted excuse, and the
characteristic playfulness which seems to return so naturally with her recovered senses,
— are all as amusing as consistent Then how beautifully is the dialogue managed
between herself and Orlando ! how well she assumes the airs of a saucy page, without
throwing off her feminine sweetness I How her wit flutters free as air over every sub-
ject ! With what careless grace, yet with what exquisite propriety ! . . . .
(P. 149) : The impression left upon our hearts and minds by the character of
Rosalind — ^by the mixture of playfulness, sensibility, and what the P'rench (and we
for lack of a better expression) call nalveU — ^is like a delicious strain of music.
There is a depth of delight, and a subtlety of words to express that delight, which is
enchanting. Yet when we call to mind particular speeches and passages, we And
that they have a relative beauty and propriety which renders it difficult to separate
them from the context without injuring their effect. She says some of the most
charming things in the world, and some of the most humorous ; but we apply them
as phrases rather than as maxims, and remember them rather for their pointed felicity
of expression and fanciful application, than for their general truth and depth of mean-
ing
(P. 152) : Rosalind has not the impressive eloquence of Portia nor the sweet wis-
dom of Isabella. Her longest speeches are not her best; nor is her taunting address
to Phebe, beautiful and celebrated as it is, equal to Phebe's own description of her.
The latter, indeg^^ more in earnest. ....
(P. 154) : ^ebe|s quite an Arcadian coquette; she is a piece of pastoral poetry;
Audrey is onl^twam:. A very amusing effect is produced by the contrast between
the frank and free bearing of the two princesses in disguise, and the scornful airs of
the real shepherdess. In the speeches of Phebe, and in the dialogue between her
and Silvius, Shakespeare has anticipated all the beauties of the Italian pastoral, and
surpassed Tasso and Guarinl. We find two amongst the most poetical passages of
the play appropriated to Phebe, the taunting speech to Silvius, and the description of
Rosallnd*in her page's costume : which last is finer than the portrait of Bathyllus in
Anacreon.
Fletcher (p. 225) : We must suppose to be of Rosalind's own device that con-
cluding ' wedlock hymn ' which conmiemorates the principal one of the matters that
form the main subject of this drama, — the grand comprehensive moral of which is,
the eternal triumph of the genial sympathies and the social relations over every form
of individual selfishness and misanthropy. No reader who shall have traced, with
us, the course of Rosalind's feelings and deportment, through that first period of her
fortunes when her heart is engrossed by sorrow for her father's banishment, and that
second penod when solicitude for her lover's requital of her affection, for his honour,
and his safety, fills her whole soul and prompts her every sentence, — ^will need any
further indication on our part to shew him how foreign to the anxiously active state
of our heroine's heart and mind throughout is Mrs Jameson's notion, for Instance,
about her ' fleeting the time carelessly,' *■ dancing on the green sward, and frolicking
4o6 APPENDIX
among green leaves/ a notion which at once brings down the < heavenly Rosalind ' of
Shakespeare's fancy and Orlando's love to the level of a * Maid Marian/ or, at most,
to a superior May-day Queen. The same imperfect view of her character causes this
critic to speak in terms comparatively slighting of the intellectual development in
Rosalind. She tells us : *■ Rosalind has not the impressive eloquence of Portia, nor
the sweet wisdom of Isabella. Her longest speeches are not her best,' &c. But the
dramatist has placed her in no circumstances that at all admit, much less demand
from her, anything of that solemn declamation which we hear from Isabella and from
Portia. Any such declamatory strain, so out of place, from her lips to any of the
individuals with whom she is brought into contact, would have testified, not in favour
of the strength and brightness of her intellect, but against them. Neither is Rosa-
lind any more inherently loquacious than she is declamatory ; she ntvfr talks merely
for talking's sake ; strong feeling or earnest purpose dictates her every syllable.
(P. 232) : The fundamental error of Mrs Jameson in appreciating this noble as
well as exquisite creation [Rosalind] seems to result from the mistaken attempt which
she makes to classify the characters of which she is treating as < characters of intel-
lect,' *■ characters of affection,' &c. Of all characters in fiction, those of Shakespeare
least admit of such classification^ — their individuality is so inherent and essential,— «
so analogous to that of actual and living persons. This classifying notion has misled
Mrs Jameson into assigning too small a proportion to affectionate feeling in the cha-
racter of Rosalind. Mrs Jameson, indeed, commits too frequently, regarding these
Shakespearian personages, the error so oflen committed in real life, of taking some
prominent part of a character for the whole, or, at least, for a much larger portion of
it than it actually constitutes. This too constant habit of estimating a given character
simply through looking at it from the outside, rather than by penetrating to its inmost
spirit, and then, as it were, surveying it from the centre, has been peculiarly fatal to
this pleasing writer's criticism of the more ideal among Shakespeare's female charac-
ters. It would even app>ear to have made her overlook altogether the distinction
between his ideal women and his women of real life ; so much so, that among those
which she classes as < characters of intellect,' she actually ranks Rosalind, not only
after Portia and Isabella, but even after Beatrice.
(P. 235) : The fundamental error in the established theatrical treatment of this
play has descended from that Restoration period of our dramatic history when, under
the ascendency which the restored court gave to French principles of taste and criti-
cism, it was sought to subject even the great ideal dramas of Shakespeare to the com-
monplace classical circumscriptions of Tragedy and Comedy. Here we have a signal
example of the perversion which must ever be effected by an endeavour to make the
principles of art subordinate to the distinctions of criticism. This great, unique, ideal
play being once definitively set down upon the manager's books as a comedy in the Iha-
ited sense, it followed, of course, according to theatrical reasoning, that the part of ks
heroine was evermore to be sustained by whatever lady should be regarded, by dis-
tinction, as the comic actress for the time being. Surely on this principle alone can it
have been (notwithstanding all her genuine comic powers) that either the figure, the
spirit, or the manner of a Mrs Jordan, for instance, was ever, not merely tolerated,
but relished and applauded, in her personation of the < heavenly Rosalind ' 1 But the
managers have not stopped here. When the comic actress of this part, as in the
instance just cited, possessed a singing voice, an occasion was to be furnished her of
displaying it, how much soever it might be to the contempt of Shakespeare and con-
sistency, and to the degradation of his heroine. And so the < cuckoo song ' was taken
\
ENGLISH CRITICISMS^ROSALIND 407
out of the mouth of Armado's page in Love's Labour^ s Lost to be warbled in the ears
of her lover by the < heavenly Rosalind.' This barbarism, however, it is due to Mr
Macready to observe, was suppressed in the last Drury-Lane revival of this play
(P. 237) : The comparatively low popular notions respecting the character of
Rosalind can be rapidly and thoroughly rectified only by a true Shakespearian
actress, in the highest and most peculiar sense of the term. She must no more be
either a tragic or a comic performer, in the limited and exclusive sense, than the As
You Like It \b A comedy, or Cymbeiine, for instance, is a tragedy, in the narrow sig-
nification. Indeed, the power of competently personating Imogen affords of itself a
far greater presumption of capacity for enacting Rosalind than is to be inferred from
the most perfect performaAce of all the properly comic parts in the world. These
are two of the noblest and most exquisitely compounded among the ideal women of
.Shakespeare, each th^ ascendant character in the drama to which she belongs. In
tx>th we find the same essential tenderness, — ^the same clear and prompt intelligence,
— the same consummate grace and self-possession in enacting those masculine parts
which the exigencies of their fortune compel them to assume. The deeper pathos
and the graver wisdom which lend a more solemn though scarcely more tender
colouring to the character of Imogen, seem hardly more than may be sufHciently
accounted for by that maturer development which one and the same original cha-
racter would receive from the maturer years, the graver position, and more tragic
trials of the wife, in which the heroine of Cymbeline is set before us, — as compared
with that early bloom, and those fond anxieties of youthful courtship, which we
behold in Rosalind. Each, too, let us observe, is a princely heiress, bestowing her
affections upon 'a poor but worthy gentleman.*
[Fletcher, who in his admirable Essays acknowledges his indebtedness at every
step to Miss Helen Faucit (Lady Martin) for her living revelations of Shakespeare's
heroines, quotes a striking sentence from Tht Edinburgh Observer (20th Feb., 1S46)
as follows : ' The secret of Miss Helen Faucit's excellence lies in her fine intuitions
*• of human character in its most diverse aspects, and knowing that the deepest and
< most delicate sportiveness springs only from an earnest and sensitive nature, to which
< thoughtfulness and the capacity of strong emotion are habitual.']
/ Hudson {Introduction^ p. 19, 1S80) : It is something miceitain whether Jaques
or Rosalind be the greater attraction ; there is enough in either to make the play a
continual feast ; though her charms are less liable to be staled by use, because they
result from health of mind and symmetry of character; so that in her presence
the head and the heart draw together perfectly. I mean that she never starts any
moral or emotional reluctances in our converse with her; all our sympathies go
along with her freely, because she never jars upon them or touches them against
the grain.
For wit, this strange, queer, lovely being is fiilly equal to Beatrice, yet nowise
' resembling her. A soft, subtile, nimble essence, consisting in one knows not what,
and ^)ringing up one can hardly tell how, her wit neither stings nor burns, but plays
briskly and airily over all things within its reach, emriching and adorning them ; inso-
much that one could ask no greater pleasure than to be the continual theme of it. In
its irrepressible vivacity it waits not for occanon, but runs on for ever, and we wish it
to run on for ever : we have a sort of faith that her dreams are made up of cunning,
quirkish, graceful fancies ; her wits being in a frolic even when she is asleep. And
4o8 APPENDIX
her heart seems a perennial spring of affectionate cheerfulness : no trial can break, no
sorrow chill, her flow of spirits ; even her sighs are breathed forth in a wrappage of
innocent mirth ; an arch, roguish smile irradiates her saddest tears. No sort of
unhappincss can live in her company: it is a joy even to stand her chiding; for,
'faster than her tongue doth make offense, her eye doth heal it up.'
So much for her choice idiom of wit. But I must not pass from this part of the
theme without noting also how aptly she illustrates the Poet's peculiar use of humour.
For I suppose the difference of wit and humour is too well understood to need any
special exposition. But the two often go together; though there is a form of wit,
much more common, that bums and dries the juices all out of the mind, and turns it
into a kind of sharp, stinging wire. Now Rosalind's sweet establishment is thor-
oughly saturated with humour, and this too of the freshest and wholesomest quality.
And the effect of her hiunour is, as it were, to lubricate all her faculties, and make
her thoughts run brisk and glib even when grief has possession of her heart. Through
this interfusive power her organs of play are held in perfect concert with her springs
of serious thought. Hence she is outwardly merry and inwardly sad at the same
time. We may justly say that she laughs out her sadness, or plays out her serious-
ness : the sorrow that is swelling her breast puts her wits and spirits into a frolic ;
and in the mirth that overflows through her tongue we have a relish of the grief with
which her heart is charged. And our sympathy with her inward state is the more
divinely moved, forasmuch as she thus, with indescribable delicacy, touches it
through a masquerade of playfulness. Yet, beneath all her frolicsomeness, we feel
that there is a firm basis of thought and womanly dignity ; so that she never laughs
away our respect.
It is quite remarkable how, in respect of her disguise, Rosalind just reverses the
conduct of Viola, yet with much the same effect. For though she seems as much at
home in her male attire as if she had always worn it, this never strikes us otherwise
than as an exercise of skill for the perfecting of her masquerade. And on the same
principle her occasional freedoms of speech serve to deepen our sense of her innate
delicacy ; they being manifestly intended as a part of her disguise, and springing
from the feeling that it is far less indelicate to go a little out of her character in order
to prevent any suspicion of her sex, than it would be to hazard such a suspicion by
keeping strictly within her character. In other words, her free talk bears much the
same relation to her character as her dress does to her person, and is therefore
becoming to her even on the score of feminine modesty. — Celia appears well worthy
of a place beside her whose love she shares and repays. Instinct with the soul of
moral beauty and female tenderness, the friendship of these more-than-sisteis ' mounts
to the seat of grace within the mind.'
^AQUEl
Hazlitt (p. 306, 181 7) : Jacques isthe^nly purely contemplative character in
Shakespeare. He thinks, and does nothing. His whole occupation is to amuse his
mind, and he is totally regardless of his body and his fortunes. He is the prince of
philosophical idlers ; his only passion is thought ; he sets no value on anything but as
it serves as food for reflection He resents Orlando's passion for Rosalind as
some disparagement of his own passion for abstract truth ; and leaves the Duke, as
soon as he is restored to his sovereignty, to seek his brother out who has quitted it and
turned hermit.
A^.
ENGLISH CRITICISMS^JAQUES 409
Skottowe (p. 346) : Jaques, the melancholy -loving Jaques, is broadly distinguished
from the common misanthrope, who, disclaiming the sympathies of humanity, in pride
or in revenge, mocks at the misfortunes and rails at the pursuits of his fcllow-crca-
tures ; for the disposition of Jaques is amiable, gentle, and humane. He regards the
world, indeed, with a jaundiced and discontented eye ; he depreciates its pleasures
and undervalues its occupations, for he deduced the emptiness of both from his expe-
rience. He had been, it appears, a libertine, but his powerful and highly-cultivated
mind revolted at slavery to his passions ; the frivolity and monotony of dissipation
disgusted him, and his high-toned moral principles triumphed over the grossness of
sensual indulgence. The only legitimate pursuit of life he found to be virtue ; and
the truth which he deeply felt he studiously inculcates; it is the moral his senten-
tious wisdom teaches ; it is the weighty * matter ' of his sullen or melancholy musings ;
which, whether capriciously intruded, or naturally arising out of the passing incident,
are at all times welcome and effective. There is weight and dignity about As You
Like It altogether unusual in comedy, for which it appears principally indebted to the
presence of the moralising Jaques, whose character is not only conceived with felicity,
but is, throughout, supported with vigour and managed with inimitable tact. It may
be partly accounted for on the principle of contrast, that the sombre reflections of
Jaques heighten, rather than detract from, the effect of the high-wrought comedy of
the play. But the cause of a result so unexpected, from a combination so unusual,
lies somewhat more remote. It is to be found in that perfect harmony which the
genius of Shakespeare established between the two distinct features of his subject
Had Jaques taken a saturnine view of the vices and follies of mankind, the spirit of
comedy would have been damped by the gloom of his misanthropy. But the better
feelings of humanity predominate in his bosom, and he never ^ves utterance to a
sentiment which loses not its asperity in the dry humour or good-natured badinage
which accompanies it. Nor is even the romantic character of this beautiful drama
injured by the introduction of the sententious sage. With equal taste and judgement
it is provided that the deep recesses of the forest, and the * oak, whose antique root
peeps out upon the brook that brawls along the wood,' should be the scenes whence
Jaques inculcated his lessons of philosophy and morality.
Maginn (p. 67) : Who or what Jaques was before he makes his appearance in the
forest, Shakespeare does not inform us, any further than that he had been a roui of
considerable note, as the Duke tells him when he proposes to ' cleanse the foul body
of the infected world * (II, vii, 67-72). This, and that he was one of the three or
four loving lords who put themselves into voluntary exile with the old Duke, is all we
know about him, until he is formally announced to us as the melancholy Jaques. The
very announcement is a tolerable proof that he is not soul-stricken in any material
degree. When Rosalind tells him that he is considered to be a melancholy fellow,
he is hard put to it to describe in what his melancholy consists (IV, i, 11-20). He is
nothing more than an idle gentleman given to musing and making invectives against
the affairs of the world, which are more remarkable for the poetry of their style and
expression than the pungency of their satire. His famous description of the Seven
Ages is that of a man who has seen but little to complain of in his career through
life. The sorrows of his infant are of the slightest kind, and he notes that it is taken
care of in a nurse's lap. The griefs of his schoolboy are confined to the necessity
of going to school ; and he, too, has had an anxious hand to attend to him. His
shining morning face reflects the superintendence of one-^robably a mother— inter-
4IO APPENDIX
ested in his welfare. The lover is tortured by no piercing pangs of love, his woes
evaporating themselves musically in a ballad of his own compxxsition, written not to
his mistress, but fantastically addressed to her eyebrow. The soldier appears in all
the pride and swelling hopes of his spirit-stirring trade. The fair round belly of the
Justice lined with good capon lets us know how he has passed his life. He is full of
ease, magisterial authority, and squirely dignity. The lean and slippered pantaloon,
and the dotard sunk into second childishness, have suffered only the common lot of
humanity, without any of the calamities that embitter the unavoidable malady of old
age. All the characters in Jaques's sketch are well taken care of. The infant
is nursed ; the boy is educated ; the youth, tormented by no greater cares than the
necessity of hunting after rhymes to please the ear of a lady, whose love sits so lightly
upon him as to set him upon nothing more serious than such a self-amusing task; the
man in prime of life is engaged in gallant deeds, brave in action, anxious for charac-
ter, and ambitious of fame ; the man in declining years has won the due honours of
his rank, he enjoys the luxuries of the table and dispenses the terrors of the bench ;
the man of age still more advanced is well-to-do in the world. If his shank be
shrunk, it is not without hose and slipp>er ; if his eyes be dim, they are spectacled ; if
his years have made him lean, they have gathered for him the wherewithal to fatten
the pouch by his side. And when this strange, eventful history is closed by the pen-
alties paid by men who live too long, Jaques does not tell us that the helpless being,
* sans teeth, sans eyes, sans taste, sans everything,' is left unprotected in his help-
lessness.
Such pictures of life do not proceed from a man very heavy at heart. Nor can it
be without design that they are introduced into this especial place. The momet<t
before, the famished Orlando has burst in upon the sylvan meal of the Duke, brand-
bhing a naked sword, demanding, with furious threat, food for himself and his help-
less companion * oppressed with two weak evils, age and hunger.* The Duke, stmck
with his earnest appeal, cannot refrain from comparing the real suffering which he
witnesses in Orlando with that which is endured by himself and his < co-mates.'
Addressing Jaques, he says : * Thou seest we are not all alone unhappy,* &c. But
the spectacle and the comment upon it lightly touch Jaques, and he starts off at once
into a witty and poetic comparison of the real drama of the world with the mimic
drama of the stage, in which, with the sight of a well-nurtured youth driven to the
savage desperation of perilling his own life and assailing that of others,— and of
weakly old age lying down in the feeble but equally resolved desperation of djring by
the wayside, driven to this extremity by sore fatigue and himger, — he diverts himself
and his audience, whether in the forest or theatre, on the stage or in the closet, with
graphic descriptions of human life ; not one of them, proceeding as they do from the
lips of the melancholy Jaques, presenting a single point on which true melancholy
can dwell (P. 75) : Jaques thinks not of the baby deserted on the step of the
inhospitable door, of the shame of the mother, of the disgrace of the parents, of the
misery of the forsaken infant. His boy is at school, his soldier in the breach, his
elder on the justice-seat Are these the woes of life ? Is there no neglected crea-
ture left to himself, or to the worse nurture of others whose trade it is to corrupt—
who will teach him what was taught to swaggering Jack Chance, found on Newgate
steps, and educated at the venerable seminary of St Giles's Pound, where
' They taught him to drink, and to thieve, and fight,
And everything else but to read and write * ?
\.
ENGLISH CRITICISMS^ J A QUES 411
la there no stripling short of conunons, but abundant in the supply of the strap or the
cudgel ? — no man fighting through the world in fortuneless struggles, and occupied by
cares or oppressed by wants more stringent than those of love ?— or in love itself does
the current of that bitter passion never run less smooth than when sonnets to a lady's
eyebrow are the prime objects of solicitude ?— or may not even he who began with
such sonneteering have found something more serious and sad, something more heart-
throbbing and soul-rending, in the progress of his passion ? Is the soldier melancholy
in the storm and whiriwind of war ? Is the gallant coufronting of the cannon a mat-
ter to be complained of? The dolorous flight, the trampled battalion, the broken
squadron, the lost battle, the lingering wound, the ill-furnished hospital, the unfed
blockade, hunger, and thirst, and pain, and fatigue, and mutilation, and cold, and
rout, and scorn, and slight,— services neglected, unworthy claims preferred, life wasted,
or honour tarnished, — are all passed by ! In peaceful life we have no deeper misfor-
tune placed before us than that it is not unusual that a justice of the peace may be
prosy in remark and trite in illustration. Are there no other evils to assail us through
the agony of life ? And when the conclusion comes, how far less tragic is the por-
traiture of mental imbecility, if considered as a state of misery than as one of com-
parative happiness, as escaping a still worse lot ! Crabbe is sadder far than Jaques,
when, after his appalling description of the inmates of a workhouse, he winds up by
showing to us amid its victims two persons as being
' happier far than they,
The moping idiot, and the madman gay.'
(P. 81) : Shakespeare designed Jaques to be a maker of fine sentiments, a dresser
forth in sweet language of the ordinary common-places or the common-place mishaps
of mankind, and he takes care to show us that he did not intend him for anything
else beside. With what admirable art he is confronted with Touchstone ! He enters
merrily, laughing at the pointless philosophising of the Fool in the forest. His lungs
crow like chanticleer when he hears him moralising over his dial, and making the
deep discovery that ten o'clock has succeeded nine and will be followed by eleven.
When l^chstone himself appears, we do not find in his own discourse any touches
of 8ucn"l)c6p contemplation. He is shrewd, sharp, worldly, witty, keen, gibing,
I / observant. It is plain that he has been mocking Jaques ; and, as is usual, the mocked
thinks himself the mocker. If one has moralised the spectacle of a wounded deer
into a thousand similes, comparing his weeping into the stream to the conduct of
worldlings in giving in their testaments the sum of more to that which had too much,-r-
his abandonment, to the parting of the flux of con4>anions from misery, — the sweeping
j^ of the careless herd full of the pasture, to the desertion of the poor and broken
bankrupt by the fat and greasy citizens, — and so forth ; if such have been the common-
places of Jaques, are they not fitly matched by the common-places of Touchstone upon
his watch ? . . . . The motley fool is as wise as the melancholy lord whom he is par-
odying. The shepherd G)rin, who replies to the courtly quizzing of Touchstone by
such apothegms as that < it is the property of rain to wet, and of fire to bum,' is uncon-
sciously performing the same part to the clown as he had been designedly performing
to Jaques. Witty nonsense is answered by dull nonsense, as the emptiness of poetry
had been answered by the emptiness of prose. There was nothing sincere in the
lamentation over the wounded stag. It was only used as a peg on which to hang fine
conceits. Had Falstaff seen the deer, his imagination would luive called up visions
412 APPENDIX
of haunches and pasties, preluding an everlasting series of cups of sack among the
revel riot of boon companions, and he would have instantly ordered its throat to be
cut. If it had fallen in the way of Friar Lawrence, the mild-hearted man of herbs
would have endeavoured to extract the arrow, heal the wound, and let the hart
imgalled go free. Neither would have thought the hairy fool a subject for reflections
which neither relieved the wants of man nor the pains of beast. Jaques complains
of the injustice and cruelty of killing deer, but unscrupulously sits down to dine upon
venison, and sorrows over the sufferings of the native burghers of the forest city, with-
out doing anything further than amusing himself with rhetorical flourishes drawn from
the contemplation of the pain which he witnesses with professional coolness and
unconcern.
It is evident, in short, that the happiest days of his life are those which be is
spending in the forest. His raking days are over, and he is tired of city dissipation.
He has shaken hands with the world, finding, with Qtwley, that 'he and it would
never agree.' To use an expression somewhat vulgar, he has had his fun for his
money ; and he thinks the bargain so fair and conclusive on both sides that he has
no notion of opening another. His mind is relieved of a thousand anxieties which
beset him in the court, and he breathes freely in the forest. The iron has not entered
into his soul ; nothing has occurred to chase sleep from his eyelids ; and his fantastic
reflections are, as he himself takes care to tell us, but general observations on the
ordinary and outward manners and feelings of mankind, — a species of taxing which
*■ like a wild goose flies, unclaimed of any man.' Above all, in having abandoned
station, and wealth, and country to join the faithful few who have in evil report clmig
manfully to their prince, he knows that he has played a noble and an honourable
part ; and they to whose lot it may have fallen to experience the hi^^piness of having
done a generous, disinterested, or self-denying action, or sacriflced temporary interests
to undying principle, or shown to the world without that what are thought to be its
great advantages can be flung aside or laid aside when they come in collision with
the feelings and passions of the world within, — will be perfectly sure that Jaques, reft
of land and banished from court, felt himself exalted in his own eyes, and, therefore,
easy of mind, whether he was mourning in melodious blank verse or weaving jocular
parodies on the canzonets of the good-humoured Amiens
Is the jesting, revelling, rioting Falstaff, broken of fortunes, luckless in life, snnk
in habits, buffeting with the discreditable part of the world, or the melancholy, mourn-
ing, complaining Jaques, honourable of conduct, high in moral pxxsition, fearless of the
future, and lying in the forest away from trouble, — ^which of them, I say, feels more
the load of care ? I think Shakespeare well knew, and depicted them accordingly.
W. W. Lloyd (Singer's Edition, 1856, p. 122) : Jaques assuredly is wonderfnlly
imagined ; his recurring title is the melancholy Jaques, but his melancholy, as he inti-
mates himself, is the most wondrously original. We hear that he has been a libertine,
and he has seen too much of the worser side of the world and of mankind, and is
not too hopeful of the world in any form ; he gives a sour and saturnine picture of its
people and their proceedings, and even of the course of nature's dispensations. His
faith has received too severe a shock for it to be harmonised and braced again, eren
by the influences of the forest of Arden. But, perhaps, his restoration is merely pro-
ceeding. He can be already so far compassionate, as to weep while he makes satirical
application of the sorrows of the sobbing deer ; he can so far sympathise as to might-
ily enjoy the satire of Touchstone, and to come in merrily after the excitement and in
V
ENGLISH CRITICISMS-JAQUES 413
high .iitellectoal exaltation. Again, we Bnd * him merry, hearing of a song.' In his
advances to Orlando first, and afterward to Rosalind, he seems to have a certain crav-
ing for sympathy, and to seek it among the young, but he gets no encouragement ;
and with these cheerful souls his despondency and censoriousness seem the habits of
either a fool or a cipher, or a very abominable fellow. We may not unnaturally think
that they do him injustice ; the banished Duke foimd more matter in him than that ;
but those of his temperament may never hope to fare better from the young, the lovely,
and who are moreover lovers. Still, I would fain put in a good word for the humor-
ist, who, whether from his own fierce though now exhausted passions, or from the
world's cold manners and hard treatment, has conceived a disgust for society as it is
for the most part to be met with, will never venture deep into its treacherous waters,
but is content to skirt the margin, within reach of retirement at any time, and the
more crowded company of his own thoughts. Much of this temper remains with him
to the last, but we see that, if little disposed still for cheerful sociability, at least the
venom has left the woimd that he bears with him, when the tenor of his parting speech
evinces his recognition and belief of the practical reality in the Duke of patience and
virtue deserving the happiest restoration, in Orlando of love and true faith, when he
wishes good speed with a sympathy that is unaffected to the marriage blessings of
Oliver and Silvius, and reserves his only barbed shaft for Touchstone, his companion,
and ally, and fellow -satirist, and in more than one respect a representative of himself.
Francois- Victor Hugo {^Introduction^ i860, p. 62) : Des critiques ing^nieux ont
compart Jacques ^ Alceste. Mais Jaques n'est pas un misanthrope ; il ne hait pas les
hommes, il les plaint ; s'il les censure, c'est par sollicitude, non par animosity. Ce
ne sont pas les considerations mondaines qui le rendent hypocondre La mau-
vaise humeur d' Alceste tient ^ des causes accidentelles ; il a perdu son procds, il a
6t6 dup6 par ime coquette, il est n6 au milieu d'une soci6t6 frivole, hypocrite et cor-
rumpue, et de U son antipathic contre Tcsp^ce humaine. Supposez qu*il ait gagn6
sa cause, qu'il se soit fait aimer de C^limdne, et que tous les abus d^nonc^s par lui
aient kKh r^form^s, sa misanthropie n'aura plus de raison d'etre. Transportez Alceste
dans le milieu oil Shakespeare a plac6 Jacques, et il y a tout lieu de croire qu' Alceste
sera satisfait. Pourquoi done Jacques ne Test-il pas ? D'od vient que la r^publique
primitive ^tablie ^ I'ombre de la for6t des Ardennes n'a pas d^sarmi son opposition ?
Comment se fait-il que le retour de Tage d'or n'ait pas apais^ ses murmures ? Ah I
c'est que le spleen de Jacques est produit par des raisons profondes. Ce n'est pas
contre la soci^ti qu'il a des griefs, c'est contre I'existence. Ce n'est pas i rhumanit6
qu'il rompt en visidre, c'est i la nature.
Ce qui attriste Jacques, c'est ce drame monotone dont une omnipotence anonyme
a fait le scenario et que tous successivement nous jouons sur le th^&tre du monde ;
c'est cette trag^die lugubre qui commence par des g^missemerts et qui finit par des
g^missements, dont la premiere scdne est une enfance < qui vagit et have au bras
d'une nourrice,' et dont * la scdne finale est une seconde enfance, 6tat de pur oubli,
sans dents, sans yeux, sans goftt^ sans rien !'— Jacques a connu toutes les joies de ce
monde, il a 6puis6 la jouissance, il a bu de la volupti jusqu' i cette lie captieuse, la
dibauche. Et d'une sati6t6 aussi complete, il n'a gardi qu' une insondable amer-
tume. Toutes nos dilices terrestres n'ont r^ussi qu' & I'ecoeurer. La plus haute des
Amotions humaines, Tamour, n'est plus pour lui qu'un malaise moral. Le pire de vos
di/autSy dit-il 2i Orlando, t^est d^Hre amoureux. Et il se dStoume avec nne sorte de
rage de ce jeune affol6. — Nos app^tits rSvoltent Jacques autant que nos inclinations.
414 APPENDIX
II n*est pas jusqu' au plus frugal repas dont le menu ne lui r6pugne ; il s'indigne de
cette voracity sanguinaire que peut seule apaiser une boucberie ; il a horreur de cette
cuisine vampire qui ne d6pdce que des cadavres. Quand le vieux due s'en va qudrir
& la chasse son souper du soir, il faut entendre Jacques s'apitoyer ' sur ces pauvres
animaux tachet^, bourgeois natifs de cette cit6 sauvage, que les filches fourcbues
atteignent sur leur propre terrain ;' il faut Tentendre d^noncer la cruaut^ du noble
veneur et ' jurer que le vieux due est un plus grand usurpateur que son fr6re.' Ainsi
les exigences m6mes de la faim * navrent le melancholique Jacques.' II critique la
vie dans ses n^cessit^ 616mentaires ; il attaque, dans I'ordre physique comme dans
I'ordre moral, la constitution m6me de I'^tre. C'est au nom de I'&me bautaine qu' il
s'insurge contre cette double servitude impos^e ^ I'bonmie ici-bas : le besoin et la
passion. II est incorrigible m^content qu' aucune r^forme ne satisfera, qu' aucune
concession ne ralliera. Sa molancbolie superbe est le d^daigneux reproche jeti par
I'id^e i la mati^re, par Tesprit au corps, par la creature & la creation.
The Cowden-Clarkes [Note on V, iv, 201) : To our thinking the manner of
Jaques's departure is in perfect harmony with his character throughout. We first see
him bluff and churlish to Amiens, who sings at his request ; we see him full of churl-
bh and affected avoidance of the Duke, who inquires for him ; we see him indulging
in conceited and churlish rebukes upon vices that he himself had wallowed in to
satiety ; we see him trying to disgust Orlando with his young and hearty love ; med-
dling in Touchstone's affairs with Audrey ; attempting to persuade the shepherd-boy,
Ganymede, that assumed madness is wisdom ; and we now see him giving an ill-
natured fling at the jester's choice of the coimtry-girl, and morosely declining to wit>
ness the wedding festivities, — affected and diurlish from first to last. The fact ia,
Jaques has always been taken for what he professes to be, — a moralist ; but looked tX.
as the Duke demonstrates him to be, and as Shakespeare has subtly drawn him, he is
a mere lip-deep moraliser, a dealer in moral precepts, a morality-monger.
DowDEN (p. 77) : Of real melancholy there is none in the play ; for the mdan-
cfaoly of Jaques is not grave and earnest, but sentimental, a self-indulgent humour, a
petted foible of character, melancholy prepense and cultivated Jaques has been
no more than a curious experimenter in libertinism, for the sake of adding an experi-
ence of madness and folly to the store of various superficial experiences which 000-
stitute his unpractical foolery of wisdom. The haunts of sin have been visited as a
part of his travel. By and by he will go to the usurping Duke who has pot on a
religious life, because * out of these convertites there is much matter to be heard and
learned.'
Jaques died, we know not how, or when, or where ; but he came to life again a
century later, and appeared in the world as an English clergyman ; we need stand in
no doubt as to his character, for we all know him under his later name of Lawrence
Sterne. Mr Yorick made a mistake about his family tree ; he came not out of the piaj
of HamUiy but out of As You Like It, In Arden he wept and moralised over the
woimded deer ; and at Namport his tears and sentiment gushed forth for the dead
donkey. Jaques knows no bonds that unite him to any living thing. He lives upon
novel, curious, and delicate sensations. He seeks the delicious itmprhm so loved and
studiously sought for by that perfected French egotist, Henri Beyle Falstaff sup-
posed that by infinite play of wit, and inexhaustible resource of a genius creative of
splendid mendacity, he could coruscate away the facts of life, and always remain
ENGLISH CRITICISMS— yAQUES 415
master of the situation by giving it a clever turn in the idea or by playing over it
with an arabesque of arch waggery Jaques in his own way supposes that he can
dispense with realities. The world, not as it is, but as it mirrors itself in his own
mind, which gives to each object a humourous distortion,— this is what alone interests
Jaques. Shakspere would say to us : < This egoistic, contemplative, unreal manner
of treating life is only a delicate kind of foolery. Real knowledge of life can never
be acquired by the curious seeker for experiences.' But this Shakspere says in his
non-hortatory, midogmatic way.
FuRNiVALL (Introduction to The Leopold Shakspere, p. Iviii) : Jaques, * compact
of jars,' is always getting out of bed on the wrong side every morning and taking the
world the wrong way He has been a libertine, is soured, and like the rascal
Don John in MucA AdOy he hides his bad nature under the cloak of seeming honesty
of plain-speaking. His mission is to set everything to rights ; but God forbid he
should take the trouble to act. He wants liberty only to blow on whom he pleases ;
he abuses everybody, moralises, weeps sentimentally, and is a kind of mixture of
Carlyle in his bad latter-day- Pamphlets mood, and water, with none of the grand
positiveness of our Victorian biographer, historian, and moralist. Look at his phil-
osophy of man's life, and what poor stuff it is ! Macbeth, the murderer, repeats it ;
to them both, men and women are but pla]pers.
A. O. Kellogg {Shakespeare's Delineations 0/ Insanity, &c. 1866, p. 87) : Those
who have carefully observed the phenomena of mind as ^qiq^ed by the more delicate
shades of diseases-shades so delicate perhaps as to be scarcely recognised by the
ordinary observer,— ^nust have remarked that in certain cases there are mental con-
ditions which appear at first sight almost incompatible and contradictory. This is
most frequently illustrated in those mild, but nevertheless marked, cases of incipient
melancholia, underlying which may frequen|tly be found a vein or substratum of
genuine humour; so that the expression 'wrapped in a most humorous sadness' is
neither contradictory nor by any means paradoxical Shakespeare, who observed
everything, has furnished us some notable examples, none more so, if we except
Hamlet, than Jaques. In the character of Jaques it is very evident that Shakespeare
intended to represent a certain delicate shade of incipient melancholia The
melancholy of Jaques is not so much a fixed condition of disease as the gradual
ingravescence of the melancholic state After a careful examination of him, we
confess our inability to discover anything more really morbid in his mental or moral
organization than what is glanced at above as belonging to the initiatory stage of the
disease His character contrasts most favourably with that of the Duke, who
indulges in the grossest personalities toward him, and thereby shows that if the one
is the nobleman, the other is, in this respect, much more the gentleman. When
Jaques asks, * What, for a counter, would I do but good ?' the Duke replier in a
tirade of most ungentlemanly personalities, and the way these are received and
replied to by Jaques is characteristic of him and highly creditable to his temper and
disposition. How charmingly he eschews all personalities, and a disposition to injure
the feelings of individuals in his innocent railings, in his reply to the coarse railings
and gross personalities of the Duke !
Hudson (Introduction, p. 18, 1880) : Jaques the Juicy. Jaques is, I believe, an
universal favourite, as, indeed^ he well may be, for he is certainly one of the Poet's
4i6 APPENDIX
happiest conceptions. Without being at all unnatural, he has an amazing fund of
peculiarity. Enraptured out of his senses at the voice of a song; thrown into a
paroxysm of laughter at the sight of the motley-clad and motley-witted Fool ; and
shedding the twilight of his merry-sad spirit over all the darker spots of human life
and character, he represents the abstract and sum-total of an utterly useless, yet per-
fectly harmless, man, seeking wisdom by abjuring its first principle. An odd choice
mixture of reality and affectation, he does nothing but think, yet avowedly thinks to
no purpose ; or rather thinking is with him its own end. On the whole, if in Touch-
stone there is much of the philosopher in the Fool, in Jaques there is not less of the
fool in the philosopher ; so that Ulrici is not so wide of the mark in calling them * two
fools.' Jaques is equally wilful, too, with Touchstone, in his turn of thought and
speech, though not so conscious of it ; and as he pla}'s his part more to please him-
self, so he is proportionably less open to the healing and renovating influences of
Nature. We cannot justly affirm, indeed, that * the soft blue sky did never melt into
his heart,* as Wordsworth says of his Peter Bell ; but he shows more of resistance
than all the other persons to the poetries and eloquences of the place. Tears are a
great luxury to him ; he sips the cup of woe with all the gust of an epicure. Still, his
temper is by no means sour; fond of solitude, he, is, nevertheless, far from being
unsocial. The society of good men, provided they be in adversity, has great charms
for him. He likes to be with those who, though deserving the best, still have the
worst ; virtue wronged, buffeted, oppressed, is his special delight, because such moral
discrepancies offer the most salient points to his cherished meditations. He himself
enumerates nearly all the forms of melancholy except his own, which I take to be
the melancholy of self-love. And its effect in his case is not unlike that of Touch-
stone's art ; inasmuch as he greatly delights to see things otherwise than as they really
are, and to make them speak out some meaning that is not in them ; that is, their
plain and obvious sense is not to his taste. Nevertheless, his melancholy is grateful,
because free from any dash of malignity. His morbid habit of mind seems to spring
from an excess of generative virtue. And how racy and original is everything that
comes from him ! as if it bubbled up from the centre of his being ; while his peren-
nial fulness of matter makes his company always delightful. The Duke loves espe-
cially to meet him in his ' sullen fits,' because then he overflows with his most idio-
matic humour. After all, the worst that can be said of Jaques is, that. the presence
of men who are at once fortunate and deserving corks him up ; which may be only
another way of saying that he cannot open out and run over save where things are
going wrong.
Macdonald {The Imagination^ 1883, p. 109) : But what do we know about the
character of Shakespeare ? How can we tell the inner life of a man who has uttered
himself in dramas, in which of course it is impossible that he should ever speak in
his own person ? No doubt he may speak his own sentiments through the mouths of
many of his persons ; but how are we to know in what cases he does so ? At least
we may assert, as a self-evident negative, that a passage treating of a wide question
put into the mouth of a person despised and rebuked by the best characters in the
play is not likely to contain any cautiously formed and cherished opinion of the
dramatist. At first sight this may seem almost a truism ; but we have only to remind
our readers that one of the passages oflenest quoted with admiration is < The Seven
Ages of Man,' a passage full of inhuman contempt for humanity and unbelief in its
destiny, in which not one of the seven ages is allowed to pass over its poor sad stage
ENGLISH CRITICISMS^CELIA 417
without a sneer; and that this passage is given by Shakespeare to the blast sensualist
Jaques, a man who, the good and wise Duke says, has been as vile as it is possible
for man to be, — so vile that it would be an additional sin in him to rebuke sin ; a man
who never was capable of seeing what is good in any man, and hates men^s vices
because he hates themselves, seeing in them only the reflex of his own disgust.
Shakespeare knew better than to say that all the world is a stage, and all the men
and women merely players. He had been a player himself, but only on the stage ;
Jaques had been a player where he ought to have been a true man. The whole of
his account of human life is contradicted and exposed at once by the entrance, the
very moment when he had finished his wicked burlesque, of Orlando, the young
master, carrying Adam, the old servant, upon his back. The song that immediately
follows, sings true : ' Most friendship is feigning, most loving mere folly.' But
between the all of Jaques and the most of the song, there is just the difference
between earth and hell. — Of course, both from a literary and dramatic point of view.
The Seven Ages is perfect.
Celia
Charles Cowden-Clarke (p. 51): The whole of this Move at first sight* on
Celia's part is managed with Shakespeare's masterly skill. I have always felt those
three little speeches to be profoundly true to individual nature, where the ladies are
questioning Oliver respecting the incident of the lioness and the snake in the forest,
and of Orlando's timely succour. Celia exclaims, in an^azement, *• Are you hij
brother?' Rosalind says, * Was it you he rescued?' And Celia rejoins, * Was \you
that did so oft contrive to kill him ?' Celiacs first exclamation is surprised concern to
find that this stranger, who interests her, is that unnatural brother of whom she had
heard. Rosalind's thought is of her lover, — Orlando's generosity in rescuing one who
has behaved so unnaturally towards himself; while Celia recurs to the difficulty she
has in reconciling the image of one who has acted basely and cruelly with him she
sees before her — ^who is speedily becoming to her the impersonation of all that is
attractive, estimable, and lovable in man. Her affectionate nature cannot persuade
itself to believe this villainy of him ; she, therefore, incredulously reiterates, * Was 'I
YOU that did so oft contrive to kill him ?' And his reply is a beautiful evidence of
the sweetness which beams transparent in her ; since it already influences him, by
effecting a confirmation of the virtuous resolves to which his brother's generosity has
previously given rise, and by causing him to fall as suddenly in love with her as she
with him. He says:
« 'Twas I ; but 'tis not I ; — I do not shame
To tell you what 1 was, since my conversion
So sweetly tastes, being the thing I am.'
It is one of the refined beauties that distinguish Shakespeare's metaphjrsical phil-
osophy, to show us how a fine nature acting upon an inferior one through the subtle
agency of love, operates beneficially to elevate and purify. At one process it pro-
claims its own excellence, and works amelioration in another. Celia's charm of
goodness wins the unkind brother of Orlando (Oliver) to a passionate admiration of
herself, at the same time that it excites his emulation to become worthy of her. It
begins by teaching him the bravery of a candid avowal of his crime, — the first step
towards reformation. Celia's loving-kindness, like all true loving-kindness, hath this
twofold virtue and grace : it no less benefits her friends than adorns herselC
a?
4i8 APPENDIX
Touchstone
Hazlitt (p. 308, 1817) : Touchstone is not in love, but he will have a mistress as
a subject for the exercise of his grotesque humour and to show his contempt for the
passion by his indifference about the person. He is a rare fellow. He is a mixture
of the ancient cynic philosopher with the modem buffoon, and turns folly into wit,
and wit into folly, just as the fit takes him. His courtship of Audrey not only throws
a degree of ridicule on the state of wedlock itself, but he is equally an enemy to the
prejudices of opinion in other respects. The lofty tone of enthusiasm which the Duke
and his companions in exile spread over the stillness and solitude of a country life
receives a pleasant shock from Touchstone's sceptical determination of the question in
his reply to Corin, IH, ii, 14-22. Zimmerman's celebrated work on Solitude discovers
only half the sense of this passage.
GERMAN CRITICISMS
A. W. SCHLEGEL {^Lectures on DramaHc Literature, trans, by Black, 1815, vol.
ii, p. 172) : It would be difHcult to bring the contents oi As You Like It within the
compass of an ordinary relation : nothing takes place, or rather what does take place
is not so essential as what is said; even what may be called the denouement is
brought about in a pretty arbitrary manner. Whoever perceives nothing but what is
capable of demonstration will hardly be disposed to allow that it has any plan at all.
Banishment and flight have assembled together in the Forest of Arden a singular
society : a Duke dethroned by his brother, and, with his faithful companions in mis-
fortune, living in the wilds on the produce of the chase ; two disguised princesses,
who love each other with a sisterly affection ; a witty court fool ; lastly, the native
inhabitants of the forest, ideal and natural shepherds and shepherdesses. These
lightly-sketched 6gures pass along in the most diversified succession ; we see always
the shady dark -green landscape in the background, and breathe in imagination the
fresh air of the forest. The hours are here measured by no clocks, no regulated
recurrence of duty or toil ; they flow on unnumbered in voluntary occupation or fan-
ciful idleness, to which every one addicts himself according to his humour or dispo-
sition ; and this unlimited freedom compensates all of them for the lost conveniences
of life. One throws himself down solitarily under a tree, and indulges in melancholy
reflections on the changes of fortune, the falsehood of the world, and the self-created
torments of social life ; others make the woods resound with social and festive songs
to the accompaniment of their horns. Selfishness, envy, and ambition have been left
in the city behind them ; of all the human passions, love alone has found an entrance
into this wilderness, where it dictates the same language to the simple shepherd and
the chivalrous youth, who hangs his love-ditty to a tree. A prudish shepherdess falls
instantaneously in love with Rosalind, disguised in man's apparel ; the latter sharply
reproaches her with her severity to her poor lover, and the pain of refusal, which she
at length feels from her own experience, disposes her to compassion and requital.
The fool carries his philosophical contempt of external show and his raillery of the
illusion of love so far, that he purposely seeks out the ugliest and simplest country
wench for a mistress. Throughout the whole picture it seems to have been the inten-
tion of the poet to show that nothing is wanted to call forth the poetry which has its
dwelling in nature and the human mind, but to throw off all artificial constraint and
♦ •''
GERMAN CRITICISMS— GERVINUS. ULRICI 419
restore both to their native liberty. In the progress of the piece itself the visionary
carelessness of such an existence is expressed ; it has even been alluded to by Shake-
speare in the title. Whoever affects to be displeased that in this romantic forest the
ceremonial of dramatic art is not duly observed, ought in justice to be delivered over
to the wise fool, for the purpose of being kindly conducted out of it to some prosaical
region.
Gervinus {^Shakespeare, 4th ed., Leipzig, 1872, i, 494) : The sweetest salve in
misery, so runs ' the golden legacy ' of the Novel, is patience, and the only medicine
for want is contentment. Misfortune is to be defied with equanimity, and our lot be
met with resignation. Hence, both the women and Orlando mock at Fortune and
disregard her power. All the three principal figures (or, including Oliver, four) have ' •'■''
this fate in common, that to all their external misfortunes, to banishment and to pov-
erty, there is added, as a new evil (for so it is regarded) : love. Even this they strive
to encounter with the same weapons, with control and with moderation, not yielding
too much, not seeking too much, with more regard to virtue and nature than to wealth '*4^
and position, just as Rosalind chooses the inferior {nachgeborenen) Orlando, and just as
Oliver chooses the shepherdess Celia. It is in reference to this that the pair of pas-
toral lovers are brought into contrast : Silvius loves too ardently, while Phebe loves too
prudishly. If this moral reflection be expressed in a word, it is Self-control, Equa-
nimity, Serenity in outward sorrow and inward suffering, whereof we here may learn
the price. That this thought lies at the core of Shakespeare's comedy is scarcely at
the first glance conceivable. So wholly is every reflection eliminated, so completely
is there, in the lightest and freest play of the action and of the dialogue, merely a
picture sketched out before us.
Ulrici (^Shakespeare's Dramatic Art, ii, 14, translated by L. Dora Schmitz,
London, 1876) : The general comic view of life is reflected throughout the whole
play, and forms the foundation and platform upon which the action moves The
motives which set the whole in motion are merely chance, the unintentional encoimter
of persons and incidents, and the freaks, caprices, and humours, the sentiments, feel-
ings, and emotions, to which the various personages recklessly give way in what they
do and leave midone. Nowhere does the representation treat of conscious plans,
definite resolves, decided aims and objects ; nowhere do we find preconsidered or,
in fact, deeper, motives proceeding from the inmost nature of the characters. The
characters themselves, even though clearly and correctly delineated, are generally
drawn in light, hurried outlines, but are full of life, gay and bold in action, and quick
in decision ; they appear, as already said, either inconstant, variable, going from one
extreme to the other, or possess such a vast amount of imagination, sensitiveness, and
love for what is romantic and adventurous that their conduct, to a prosaic mind, can
only appear thoughtless, capricious, and arbitrary ; and such a mind would be inclined to
call them all fools, oddities, and fantastic creatures (in the same way as Sir Oliver Mar-
text, in the play itself, calls the whole company in the forest * fantastical knaves.' [A
doubtful interpretation. — Ed.]) And, in fact, all do exactly what and as they please;
each gives him or herself up, in unbridled wilfulness, to good or evil, according to his
or her own whims, moods, or impulses, whatever the consequences may prove to be.
Each looks upon and turns and shapes life as it pleases him or herself. The Forest
of Arden is their stage ; with its fresh and free atmosphere, its mysterious chiaroscuro,
its idyllic scenery for huntsmen and shepherds, it is, at the same time, the fitting scene
420 APPENDIX
for the realisation of a mode and conception of life as is here described At
court, in more complicated relations, in a state of impure feelings and selHsh endeav-
ours, [such a life as just described] would lose its poetical halo, its innocence and
gayety, and become untruth, h3rpocrisy, injustice, and violence, as is proved by the
reigning Duke, his courtiers, and Oliver de Bois. The point of the piece seems to
lie in this contrast ; but care had to be taken not to make it too pointed, not to make
it a serious moral conflict Shakespeare's intention — that is, the sense in which
he conceived Lodge's narrative and transformed it into a drama, which, as I think,
is clearly enough manifested in the spirit and character of the whole, as well as
reflected in the several points — is concentrated, and, so to say, condensed in the sec-
ond and more personal contrast in which the two fools of the piece stand to one
another. They, and the unimportant figure of the shepherdess whom Touchstone
chooses as his sweetheart, are the only persons whom Shakespeare did not find in
Lodge's narrative, but freely invented. This addition, however, is in so far of great
importance, as it alone gives the original subject-matter a different character and col-
ouring, and, so to say, forms the ideal norm, which determines the other alterationa
introduced by Shakespeare. The two fools, by virtue of the contrast in which they
stand to each other, mutually complete each other. The melancholy Jaques is not
the fool by profession ; he appears rather to be a comic character par excdUnce ; but
his meditative superficiality, his witty sentimentality, his merry sadness have taken so
complete a hold of his nature, that it seems to contradict itself, and, therefore, upon a
closer examination, distinctly bears the impress of folly, although it certainly is an
original kind of folly.
(P. 20) : He, Touchstone, the professed Fool, may frankly be declared the most
rational person of the whole curious company, for he alone invariably knows his own
mind ; in regarding everything as sheer folly, he, at the same time, takes it up in the
humour in which it must be understood.
F. Kreyssig ( Vorlesungen^ &c., vol. iii, p. 237, Berlin, 1862) : Shakespeare took
for the subject of his drama the Pastoral Romance of Lodge, whereof the ruling idea
is the contrast between the over-refined worn-out state of society and health-giving
freshness of Nature. In the drama, however, both sides of the picture stand out
clear and contrasted, and vague dissolving portraiture rises to plastic dramatic repre*
sentation.
[In III, i, where Oliver tells the usurping Duke that he never lov*d Orlando, and
the Duke answers, * More villain thou. — Well, push him out of doors,* &c., Kreyssig
exclaims, * What a significant contribution to the Natural History of political tyranny
is contained in this answer of the Duke V and then adds :] Just as the earnest gravity
of the dramatic action is here directed against moral principles, so, the whole piece
through, the arrows of wit are aimed at the follies and weaknesses of the world of
rank and fashion, the target for the merriment of the fool as well as for the acrid sar-
casm of the misanthrope ; and, if without bitterness, at least one and all of the healthier
natures there turn their backs on it.
(P. 242) : And on this dark background of life \i. e. all Touchstone's descrip-
tions of court manners] which the Poet has drawn, not in lackadaisical whinings and
taffeta phrases, but with the vigorous colours of reality, he has painted a picture of a
simple, natural mode of life as bright and fresh as ever quickened the weary soul of
a worn-out citizen at the very first breath of the woods and the mountains. Through
these scenes, in praise of which all lovers of Shakespeare unite, is wafted the refresh-
GEORGE SANUS COMME IL VOUS PLAIRA 421
ing earthy smell of the woods and the vivifying breeze from the moantains. Like
the outlaws of the popular ballad, like Robin Hood and his comrades, the exiled
Duke and his faithful friends forget under the boughs of the Forest of Ardennes loss
and vexation, envy and ambition, with care and sorrow in their train.
(P. 243) : For vigorous natures, temporarily out of tune, the Poet offers a whole-
some medicine throughout this airy romantic life, which, however, is not to be
regarded as the sentimental ideal of a normal condition which has been overwhelmed
and lost in society. What the shepherds and shepherdesses in conventional pastoral
poetry really are (without intending to appear so), namely, fugitives from a false
social condition enjoying for a while a sort of masquerade and picnic freedoni — in
place of such, Shakespeare gives us honest and true his romantic dwellers in the
Forest of Ardennes. And this is the very reason why he catches the genuine tone
of this careless, free, natural existence, which in the case of the ideal shepherds of
the Spaniards, French, or Italians is cabined and confined by merely another form of
artificial intercourse.
[After having described the effect of the last words of Jaques : *■ out of these con-
vertites there is much matter to be heard and learned,' and how * with these words
the supersubtle, travelUng man of the world takes a fresh comfortless start for new
studies in his barren knowledge,' Kreyssig goes on to say :] ( P. 250) : Thus here in
a romantic Arcadia, the law of life prevailing in a well-ordered moral condition of
society maintains its sacred rights. And while the genius of the British Poet, con-
scious of its aim, rises high above the conventional forms of the South which' it had
borrowed, many of the scenes of this comedy are transformed into a diverting parody
of the se^mentalism of pastoral poetry.
GEORGE SAND'S COMME IL VOUS PLAIRA
George Sand's adaptation, Comme il votu plaira^ is another illustration of the
impossibility of transplanting As You Like It; it takes even less kindly to French
than to German soil.
By way of Preface to her adaptation George Sand gives a letter which she
wrote to R6gnier, explaining her aims. From the tone of this letter, so outspoken
and enthusiastic in its admiration of Shakespeare, it is easy to see that wherein
George Sand does not follow her original, it is through no lack of reverence, but
that in all sincerity she endeavoured to adapt her version to the usages of her own
country, or rather (to be more correct) to the fashion of the hour. * Whilst Shake-
speare,' she says (I quote Lady Monson's translation), < abandoned himself to the
passionate transports or the delicious caprices of his inspiration, he trod under foot,
along with the rules of composition, certain requirements which the mind legiti-
* mately demands — order, sobriety, the harmonies of action, and logic. But he was
« Shakespeare ; therefore, he did well if such ebullitions were necessary to the poor-
< ing out of the most vast and vigorous genius that ever pervaded a theatre.' It is the
contrasts in Shakespeare, the high lights and deep shades, it seems, which, to a mind
educated in the inflexible laws of the French drama, prove almost insurmountable
barriers to a due appreciation of Shakespeare. ' By a strange inconsistency,' she sayi
in another place, ' which appears incomprehensible, he placed the most divine grace and
< chastity side by side with the most startling cynicism ; the gentleness of the angel by
422 APPENDIX
< the fury of the tiger ; and the most piercing sorrow in juxtaposition with untranslat-
* able conceits of reckless license.* George Sand, therefore, deemed it * neither a
' profanation nor an outrage to clothe this Colossus in borrowed garments — rather it is
< a homage, rendered to the impossibility of Hnding robes of modem French fashion
*sufficiendy grand and majestic for him/
It would be easy enough to be flippant and to make merry over the cut of the very
modem French garments in which George Sand has here clothed the characters of As
You Like It, To her, as to the Germans, the wit and charm of heavenly Rosalind are
lost ; the melancholy Jaques fascinates her, and he becomes the hero of the play, far
eclipsing all the rest. The treatment of such a comedy by such a woman, in our own
day, presents so curious a problem that it is, I think, well worth while to ponder over
a sketch, at least, of her version.
We must bear in mind that in this adaptation George Sand is simply what her
public made her. She merely interprets the demands of the day and speaks to
French ears. Under this inspiration, let us trust, rather than under what is genuinely
her own, the Forest of Arden is transformed into the Faubourg Saint- Germain,
In the opening scene, which is laid on a lawn before the Ducal Palace, with the
ring prepared for the wrestling, Orlando declares to Adam his determination to stay
and see the games and the court, but, above all, the fair Rosalind; Oliver enters
and a quarrel ensues, wherein some of Shakespeare's phrases are used, such as
Orlando's demand for his patrimony and reproaches for his ill-treatment. Oliver calls
Orlando *jeune dr6le,' and threatens him with a switch, which the younger brother
snatches and flings away, but which Adam picks up and respectfully returns to Oliver,
who calls him, as is in the original, * old dog,' and goes out leaving Orlando in tears.
Jaques, who had entered during the quarrel and been a silent spectator, now comes
forward and asks for an explanation of the scene from Adam, with the suggestion
that it may have been a rehearsal for the games at hand ; — this, Orlando resents, and
at last demands who Jaques is : * Qui je suis ?' replies the latter, * H^las ! un homme
bien las de I'fttre.* * Si vous avez le spleen,' rejoins Orlando, * ne d^goiitez pas lea
jeunes gens de vivre.' After some bitter comments by Jaques on that style of * living,*
Orlando departs, having expressed his determination to try a fall with the champion
Charles. Adam then reveals to Jaques that he has recognised him as an old adherent
of the banished Duke, and begs to know if a place could be found at the banished
Duke's court for Orlando. Before this point is settled Rosalind, Celia, and some pages
enter, and Adam and Jaques retire. Celia begs Rosalind to be gay, but the latter
explains her melancholy by revealing her suspicions that her uncle by his recent ill-
treatment of her intends shortly to banish her. Celia assures Rosalind that when the
succession to the throne falls to her she will restore it all again to Rosalind ; < Oh !
j'en fais le serment,' she adds, ' et, si j'y manque, puiss^-je devenir un monstre de
laideur!* Touchstone enters (here called Pierre Touchard), and the original is
somewhat followed in the story of the knight and the pancakes, but before it is
finished Rosalind catches sight of Jaques and Adam at the back, and gazes intently
at Jaques, of whose features she has a dim memory. Adam kisses Jaque8*s hand
and retires ; Jaques comes forward, and asks Touchstone which of the two ladies is
the daughter of the Duke. Celia advances and replies :
Je suis la fille du due qui rigne. [Montrant Rosalinde.) Elle est la fille de celni
qui devrait rigner.
Jacques. Madame, vous ditcs plus vrai peut-6tre que vous ne pensez.
GEORGE SAND'S COMME IL VOUS PLAIRA 423
Celia {itonrUe de la brusqturie de Jacques). Ah ! ami, que ne prends-tu le bonnet
de ce fou ? Tu sembles fait pwur le porter !
Jacques. Je sais qu' ^ la cour, il faut porter ce bonnet pour dire la v6rit6. {A
Rosalindej en allant d eHe.) Madame, je vous apporte des nouvelles de votre p^re.
Rosalinde. Mon p^re ! Ah ! parlez vite ! et parlez beaucoup 1
Jacques. II m'a charge de vous dire qu' il vous souhaitait un printemps aussi vert
que sa vieillesse.
Rosalinde [allant d Cilia.) Embrasse-moi, chire C^lia, et Dieu soit \g\i€ ! {^A
/acques.) £st-il toujours dans son ch&teau des Ardennes, et compte-t-il y rester
encore ?
Jaques is able to assure Rosalind that her father is contented and happy; and
then becomes himself the object of the ladies' curiosity. * Je ne suis plus ce que
j'^tais,' he says, * ne me cherchez pas dans vos souvenirs ; mon nom a change de sens
comme tout le reste. Autrefois, ici, j'6tais pour tous Jacques le viveur et le mag-
nifique; aujourd'hui, on m'appelle, li-bas, Jacques le rftveur et le solitaire.' He
promises to carry a letter from Rosalind to her father, and Celia, as she retires, says
of him : ' Son oeil est encore vif et beau ; mais sa bouche est une tombe oil le sourire
est enseveli.' While Jaques is waiting for this letter he overhears Oliver and Charles
plotting the death of Orlando at the wrestling, and has time only to warn Adam of it
before the Duke and his court enter and take their places to witness the games, and
Rosalind gives Jaques the letter. Orlando, despite Adam's agonised entreaties,
insists upon wrestling, and is of course victorious. The Duke is angered at hearing
his name. Rosalind gives him a chain. The Duke recognises Jaques, and trembles.
After the games are over, and Celia, Rosalind, and Jaques are in conversation. Touch-
stone enters hastily and announces that the Duke's suspicion against Rosalind is again
aroused, and that, having marked her interest in Orlando, and detected her in giving
a letter to Jaques, is convinced that she is in a conspiracy against him, and that he
has therefore banished her. The First Act closes with the resolution of Celia and
Rosalind to fly to the Forest of Ardennes under the escort of Jaques and of Touch-
stone, whose thoughts, by the way, are always engrossed by eating and drinking.
The Second Act opens in the Forest of Ardennes with the Duke, Amiens, and
lords. A Are is lit at the back for an improvised kitchen, and valets are unpacking
hampers and dishes.
Le Due. Voici le lieu choisi pour notre halte. {A ses gens.) Amis, serveznous
la collation sous ces arbres. (Aux seigneurs.) Si Jacques revient aujourd'hui, il
saura nous retrouver ici. Puiss6-je recevoir aujourd'hui des nouvelles de ma fllle
ch6rie et re voir la figure d'un ami fiddle ! £t vous, mes frdres, mes compagnons
d'exil, ne vous tarde-t-il point d'entendre soupirer ou gronder notre philosophe
m^lancholique ? . . . . Pour moi, plus il me gourmande, plus il m'int^resse, et c'est
dans ses plus grands accds de misanthropic que je trouve du profit & I'entendre.
J'aime alors & le contredire et it le critiquer pour I'obliger & parler davantage ; car,
au fond de ses recriminations contre le genre humain, je vois toujours briller
I'amour du vrai et la haine du mal, comme les claires ^toiles derri^re les nonages
sombres.'
Audrey appears bringing in * le lait de ses brebis et les fruits de son verger,* where-
upon the Duke is touched and thus addresses her : < Sois toujours la bienvenue, ma
pauvre enfant ! Ma fille est k pen pr^s de son ftge ; mais combien je me la repr^sente
plus grande et plus belle !' Touchstone enters, much to Audrey's alarm, and while
demanding to have the Duke pointed out to him falls to eating whatever he can lay
424 APPENDIX
his hands on. At last he takes an apple with the remark : ' Je prends cette pomme
pour philosopher sur le destin de rhomme. Ce fruit n'est-il pas son image ? Que
faisait cette pomme sur son arbre, et que va-t-elle devenir si je ne la mange ? (//
mords dans la pomme.) C'est ainsi que, d'heure en heure, nous mdrissons, mftrris-
sons ; et puis d'heure en heure, nous pourrissonSi poiurissons, jusqu' k ce que la mort
nous croque et que la terre nous avale.'
Jaques enters with Rosalind, clad as a young boy. ' Jacques !' exclaims the Duke,
< et ma fille ? ma fille ?
Jacques. Void une lettre d'elle.
Le Due, Une lettre ?
Jacques. Vous attendiez-vous done & la revoir ?
Le Due (ouvrant la lettre). Helas I non .... Si elle est hcuretise, .... qu*clle
reste oCi elle est bien I
Jacqties (d Rosalinde, qui est restte loin derriire luiy d mi-voix). Approchez ....
et parlez-lui avec precaution.
Rosalinde. Ah ! je ne saurais lui parler !
Le Due (lisant la littre). Elle espdre qu'un jour on lui perraettra Ah ! si
j'^tais moins vieux, j'aurais plus de patience. {^A Rosalinde^ qui met un genou en
terre devant lui.) Que veux-tu mon enfant? Es-tu le fils ou le petit-fils de quelque
ami de ma jeunesse ? £t, pour cela, on te persecute peut-6tre k la cour de mon fr^re ?
{^Jacques fait un signe affirmatif.) Si tu cherches un refuge aupr^s de moi, sois le
bienvenu. Mais ne compte pas faire ici une brillante carridre. Nous avons perdu la
pompe de notre rang et trouv^ une vie plus rude pour le corps, plus saine pour I'&me.
Ces bois nous ofifrent moins de dangers que les palais, s^jour de I'envie. Ici, nous
n'avons & subir que la peine inflig^e k notre premier p^re, le changement des saisons
et la necessity de devoir notre nourriture aux fatigues de la chasse ; mais, briil6 par
le soleil ou surpris par la temp^te, je souris parfois en me disant : '* II n'y a point ici
de flatteurs, car voilk des conseillers qui me font sentir qu'un prince est un homme, et
nn homme est bien peu de chose ! . . . ." Mais pourquoi pleures-tu, mon enfant ? car
je sens tes larmes sur mes mains ! Mon sort t'efifraye, et tu regrettes d'fttre venu le
partager?
Rosalinde. Ah ! je veux vivre prfts de vous, monseigneur ; ne me renvoyez pas I
Jacques [souriant). Gardez-le prds de vous; il vous servira bien.
Le Due. J'y consens ; mais qu'il me dise son nom et me montre son visage.
{Rosalinde se relive. II la regarde avec imotion. Elle n^y pent tenir et se jette
dans ses dras.)
Rosalinde. Ah ! mon p^re ! c'est moi !
Le Due. Ma fille, ma Rosalinde ! sous ce d^guisement ! {Surprise et movement
ghtkral.)
Rosalinde. La crainte de vous surprendre trop vite me Pavait fait prendre en
voyage.
There is general rejoicing, which is restrained within due bounds by Jaques, who
repeats, as the sum of his travels, the Seven Ages. Orlando breaks in, demanding
food for himself and Adam pretty much as in Shakespeare. Rosalind speaks to him,
and in an aside Orlando exclaims, ' O puissances celestes ! Rosalinde !' but, aloud,
addresses Rosalind as ' Monsieur,' who in turn, in an aside^ says sadly, ' Je croyais
qu'il m'aurait reconnue !' While still in doubt as to the reception which the exiled
Duke would give to his niece, Celia, the daughter of his enemy, it is considered
advisable to keep Celia in concealment in an old castle belonging to Jaques. Much
GEORGE SAND'S COMME IL VOUS PLAIRA 425
time is now devoted to the conversion of Jaques from a misanthrope to a jealous
lover of Celia. In the midst of a conversation between Jaques, Celia, Rosalind, and
Orlando, in which Rosalind, still in a page's dress, endeavours in vain to make
Orlando tell the name of his love, Touchstone enters hastily, crying to them to save
themselves and fly. In the attempt to comply they are met face to face by Charles
the wrestler, who at the head of * une petite escorte de Gens Arm^ * has been sent
by Duke Frederick to bring back his daughter. Out of complaisance to Orlando, his
former antagonist and vanquisher, Charles chivalrously and gallantly declines to seize
Celia, and, with a grace snatched beyond the bounds of truth, tells his soldiers that
the object of their search is not present, and then retires.
The first two or three Scenes of the Third Act are taken up with the love-making
of Touchstone, Audrey, and William, with Jaques as the guide, philosopher and friend
of all parties. Jaques manifests his increasing devotion to Celia by his exertions to fur-
bish up his old mansion, and while thus occupied Orlando begs his aid in correcting
some love-verses which he had composed, beginning : * Bonnes gens, oyez la mer-
veille ! L' Amour, petit comme une abeille. Est venu cacher dans mon cceur £t son
venin et sa douceur,' &c. Celia enters, and by her coquetry with Orlando so stirs
Jaques's jealousy that nothing less than an appeal to the duello will satisfy Jaques, con-
vinced as he now is that Orlando's verses were intended for Celia, who in vain tries
to allay the storm. Rosalind enters, and at a word from her Orlando sheaths his
Bword ; thereupon Jaques does the like, but Orlando is still too bashful to acknow-
ledge that the verses were meant for Rosalind. The Duke enters and announces
that his brother has repented and restored to him his dominions. Celia salutes Rosa-
lind as ' ma princesse, ma souveraine ! Je te vais pr6ter foi et hommage ! mais tu
permettras .... (elU fait signe d Roland) qu'un de E/ts amis prenne place & tes
genoux.' Hereupon the Duke interferes, and in severe tones expresses his doubts as
to Orlando's honesty, and commands Oliver to approach, who accuses Orlando and
old Adam of robbing him of a sum of money before they left home, and of having
threatened his life. Old Adam swears that the money was his own, and Jaques testi-
fies to the plot on Orlando's life which he overheard Oliver and Charles devise.
Thereupon, the Duke commands Oliver to be thrown fix>m a high rock ; a fine chance
is now given to Orlando to show his magnanimity in pleading for his brother's life ;
and he improves it Oliver is pardoned. Rosalind is given to Orlando. William
eclipses Touchstone and carries off Audrey. Jaques declares that he will not leave
the forest, but will bid them all farewell — ^he cannot follow thentL Thereupon, Celia,
who is left alone with Jaques, gently confesses that her heart is his :
Jacques. C^lia ! . . . . Non ! vous raillez ! je ne suis plus jeune I . . . .
Cilia. Aimez-vous?
Jacques, Je suis pauvre, triste, m6content de toutes choses
Cilia. Vous n'aimez done pas ?
Jacques (trafuporti). Ah ! tenez ! vous avez raison ! Je suis jeune, je suis riche,
je suis gai, je suis heureux. Oui, oui, le firmament s'embrase Ik-haut et la terre fleurit
ici-bas ! Je respire avec I'amour une vie nouvelle, et mes yeux s'ouvrent k la v6ritii I
Qui? moi, m^lancholique ? Non! je ne suis pas un impie! Le del est bon, lei
hommes sont doux, le monde est un jardin de d61ices et la femme est I'ange du par-
don . . . . (f/ tontbe d ses piecU\ si je ne r€ve pas que vous m'aimez I
Cilia. II doute encore ! . . . . Jacques, par les roses du printempt, par la virginiti
des lis, par la jeunesse, par la foi, par I'honneur, je voui aime 1 A present, voolez-
vous me quitter?
426 APPENDIX
Jacques. Non, jamais ! car je t'aime aussi ! Oh ! la plus belle parole que rhomme
puisse dir&: Je t'aime ! . . . .
Cilia. £h bien, pulsque mon p^re n'est plus ni riche ni puissant .... puisque,
gr&ce au ciel, je puis £tre k vous, .... suis-moi !
Fin de Comme jl vous plaira.
ACTORS
BoADEN {Memoirs of Mrs Siddons^ 1827, vol. ii, p. 166) : The Rosalind Kii As You
Like It had been a favourite character of Mrs Siddons on theatres nearer to the Forest
of Arden; and for her second benefit this season [1785] she ventured to appear upon
the London stage in a dress which more strongly reminded the spectator of the sex
which she had laid down than that which she had taken up Rosalind was one
of the most delicate achievements of Mrs Siddons. The common objection to her
comedy, that it was only the smile of tragedy y made the express charm of Rosalind, —
her vivacity is understanding, not buoyant S])irits, — she closes her brilliant assaults
upon others with a smothered sigh for her own condition. She often appears to my
recollection addressing the successful Orlando by the beautiful discrimination of
Shakespeare's feelings : ^Gentlematty Wear this for me,* &c., I, ii, 241 ; * Orlando^ had
been familiar, * young man ' now coarse. And, on the discovery that modesty kept even
his encouraged merit silent, the graceful farewell faintly articulated was such a style
of comedy as could come only from a spirit tenderly touched Mrs Siddons
put so much soul into all the raillery of Ganymede as really to cover the very boards
of the stage. She seemed indeed brought up by a deep magician, and to be forest
bom. But the return to the habiliments of Rosalind was attended with that happy
supplement to the poet's language, where the same terms are applied to different per-
sonages, and the meaning is expanded by the discrimination of look, and tone, and
action, — * To you I give myself, for I am yours.*
Campbell {Life of Mrs Siddons^ 1834, vol. ii, p. 68) : The new character which
she performed [30 April, 1785] was that of Rosalind. After a successful transition
from the greatest to the gentlest parts of tragedy, it would have been but one step
further, in the versatility of genius, to have been at home in the enchanting Rosa-
lind ; and as the character, though comic, is not broadly so, and is as romantic and
poetical as an)rthing in tragedy, I somewhat grudgingly confess my belief that her
performance of it, though not a failure, seems to have fallen equally short of a tri-
umph. It appears that she played the part admirably in some particulars. But,
altogether, Rosalind's character has a gay and feathery lightness of spirits which
one can easily imagine more difficult for Mrs Siddons to assume than the tragic
meekness of Desdemona. In As You Like It Rosalind is the soul of the piece ;
aided only by the Clown (and, oh that half the so-called wise were as clever as
Shakespeare's clowns !), she has to redeem the wildness of a forest and the dulness
of rustic life. Her wit and beauty have ' to throw a sunshine in the shady place.'
Abate but a spark of her spirit, and we should become, in the forest scenes, as mel-
ancholy and moralising as Jaques. Shakespeare's Rosalind, therefore, requires the
gayest and archest representative. In a letter from Mr Young, which I have before
me, he says, < Her Rosalind wanted neither playfulness nor feminine softness ; but it
ACTORS^MRS SIDDONS. LADY MARTIN 427
was totally without archness, — not because she did not properly conceive it ; but how
could such a countenance be arch ?' Here alone, I believe, in her whole professional
career, Mrs Siddons found a rival who beat her out of a single character. The rival
Rosalind was Mrs Jordan; but those who best remember Mrs Jordan will be the
least surprised at her defeating her great contemporary in this one instance. Mrs
Jordan was, perhaps, a little too much of the romp in some touches of the part ; but,
altogether, she had the nalv^ti of it to a degree that Shakespeare himself, if he had
been a living spectator, would have gone behind the scenes to have saluted her for
her success in it. Anna Seward, who, though her taste was exceedingly bad in
many points, had a due appreciation of our great actress, speaks of her as follows in
the part of Rosalind : < For the first time I saw the justly celebrated Mrs Siddons in
comedy, in the part of Rosalind ; but though her smile is as enchanting as her frown
is magnificent, as her tears are irresistible, yet the playful scintillations of colloquial
wit, which most strongly mark that character, suit not the Siddonian form and coun-
tenance. Then her dress was injudicious. The scrupulous prudery of decency pro-
duced an ambiguous vestment, that seemed neither male nor female.' ' But,' Miss
Seward adds, * when she first came on as the Princess, nothing could be more charm-
ing, nor than when she resumed her original character, and exchanged comic spirit
for dignified tenderness.*
The Scotsman:* Shakespeare has, in this character of Rosalind, lefl more to
the creative genius of the actor than perhaps in any other of his female characters.
Hence, the author and actor have not far from equal shares in the finished work ; it
is not merely that Miss Faucit, in her Rosalind, does justice to the reproduction of
Shakespeare's creation ; she completes and illuminates for us his conception. The
singularly acute and subtle sympathy by which this complement is given to the work
of the great dramatist, produces an effect like that of sunlight on some fair land-
scape, — beautiful before the delicate and generous light flows over it, but, after, glow-
ing with the very perfection of theretofore unimagined loveliness. This exceptional
partnership of author and actor imparts one of its great charms to Miss Faucit's rep-
resentation of Rosalind ; there is so much of her own in it that we sometimes forget
that there is in it anything not her own, and are brought back with a start to the
remembrance that, after all, it is playing, and not real living and loving, that is going
on before us. It may be a kind of conscientiousness of part-proprietorship in the
character of Rosalind that in her representation of it heightens the always high finish,
and refines the always deUcate handling, which Miss Faucit bestows on her acting ;
certainly a more exquisite and graceful piece of dramatic art playgoers may fairly
despair of seeing, and players of presenting. Even Shakespeare has given us no
other such outline of an airy, romantic, sensitive female nature joined to great spright-
liness, resolution, tenderness, and wit ; and Miss Faucit's filling in of this rare out-
line is perfectly harmonious. Not a word, or tone, or gesture jars upon us from first
to last ; nothing disturbs the ideal that, from Rosalind's earliest appearance, we repre-
sent to ourselves, but every touch adds new graces and new charms. Especially in
the sudden mutations of mood and style that so frequently occur during the adven-
tures of Ganymede in the forest, was the perfect congruity of Miss Faucit's concep-
tion conspicuous ; never by chance, in all these changes, did she show or hint in
* A newspaper cutting, undated, kindly sent to me by a conrespondent. It certainly deserves
preservation, if only for the two or three glimpses which it gives us of look, tone, or gesture in par-
ticular passages.— £0.
428 APPENDIX
Rosalind aught that was not in harmony with everything that went before and was to
come after. When, for example, after the mock marriage, Orlando is simmioned
away to attend the Duke, and Rosalind goes off in a fit of pouting and tears, the
counterfeiting was so admirably done as to induce the momentary fancy that her
character had broken down under the strain of self-denying deception. But in an
instant a radiant smile, growing to a half-railing laugh, altered the whole current,
and gave us back the arch yet earnest woman who overflows with gayety, because
she has in her hand all that her heart desires, and can afford to torment herself by-
balking herself of it, because she is so sure of it Another admirable touch of
harmonising colour, so to speak, is conveyed in the partly involuntary and nervous
laughter that the assumed Ganymede gives way to ; with curious felicity expressing
at once maidenly alarm lest her disguise should fail to screen her, and maidenly glee
she can ill repress at the knowledge that the man she loves, loves her and is at her
command.
The Glasgow Constitutional (17 February, 1847) : So prolific is Miss Helen
Faucit's genius, — so entirely has she adopted and improved upon the conception of
Shakespeare, — ^that above two-thirds of the charming image, which is painted indelibly
on every mind which witnessed it, is entirely her own. It is quite Shakespearian, but
it is not to be found in Shakespeare. Her pantomime would be nearly as effective if
she never said a word. The step, the smile, the arch look, the exquisite playfulness,
the uniform grace, the passing malice, and lasting kindness of heart, are all her own.
The Art Journal (January, 1867— cited by W. C. Russell, Representative
Actors^ p. 410) : Like all true artists, [Lady Martin] manifestly works from within
outward. Whatever character she assumes has a truth and unity which could be
produced in no other way. Consider her, for example, in As You Like It. It is
clear that she has entered into the soul of Rosalind, nor realised that alone, but all
the life of the woman and her surroundings as well. Rosalind's words, therefore,
sparkle upon her lips as if they were the offspring of the moment, or deepen into
tenderness as if her very Orlaado were thrilling her heart with tones that are but
faint echoes of her own emotion. All she says and does seems to grow out of the
situation as if it were seen and heard for the first time. She takes us into Arden
with her, and makes us feel, with the other free foresters of this glorious woodland,
what a charm of sunshine and grace that clear, buoyant spirit difliised among its
melancholy boughs Her characters seem to be to her living things, ever fresh,
ever full of interest, and on which her imagination is ever at work. They must
mingle with her life, even as the thickcoming fancies of the poet mingle with his.
As, therefore, her rare womanly nature deepens and expands, so do they take a
deeper tone and become interfused with a more accomplished grace.
COSTUME
E. W. Godwin (The Architect^ i May, 1875): This play refers distinctly to a
time prior to the succession of Anne of Brittany, for her duchy was the last of the
princedoms added to the crown by her marriage with the King of France. The time
of the action, therefore, belongs to some period before the commencement of the six-
COSTUME-^GODWIN 429
teenth century, and the reign of Louis XI (1461-1483), contemporary with that of
our Edward IV, is probably as late as we can safely place it. Architecture has very
little to do with the scenery of this comedy. Indeed, there is no need of its intro-
duction at all. The First Act gives : I. An orchard near Oliver's house. 2. A lawn
before the Duke's palace. 3. A room in the palace. Now there is nothing to call
for any buildings in I and 2, and the 3d Scene may just as well be enacted on the
lawn (2) as in a room. In the Second Act we have for the 2d Scene a room in the
palace, occurring again in the 1st Scene of the Third Act. Both scenes are extremely
short, and might be omitted without doing any violence to the conduct of the plot. So,
too, the 3d Scene of the Second Act may be the same as the 1st of the First. And as
all the rest of the action is in the Forest of Arden, there is really no need of any archi-
tectural scenery in As You Like It.
The. costume of 1461-1483 was not so extravagant in France as it was in Eng-
land. In the Court of Duke Frederick we should see doublets and gowns of silk
velvet and cloth of gold ; rich embroideries in Venice gold, chiefly of the net and
pine-apple pattern ; deep trimmings of fur or velvet to collars, cuffs, and skirts of
Rosalind's and Celia's dresses ; and various other things, [such as are required for
the] plays of Henry F/and Richard III. But there are so many MSS of this time,
especially in the Imperial and National Libraries in Paris, and their illuminations
reveal so many different styles of toilette, that the power of selection to a certain
extent and within certain limits is in our hands, and our decision in these matters
must therefore be more or less influenced by the physique of the actor or actress.
For the more we know of the costume of the past, the more satisfied we are that we
can avoid, if we choose, those curiosities of dress where the ludicrous is predominant,
and which, by arousing untimely laughter, interfere sadly with the dramatic action.
[Godwin has referred to the costume of the time of Edward IV as appropriate to
this play, of which costume he wrote as follows in the same journal of 6 February :]
Fashion in costume was now beginning that activity of life which is so acutely felt at
present. Every new thing, no matter how inappropriate, provided only it were
brought out in France, was sure to be received in England. Costly materials, such as
silk, satin, velvet, cloth of gold, and fur of sables, were worn even by boys. Heavy
chains of gold, and girdles of the same material and of silver gilt, were so common
as to make it necessary to forbid the use of them, except to such persons as were pos-
sessed of 40/. a year. In 1464, Edward IV tried to govern the fashion by Act of
Parliament, by which only lords had privilege of wearing the indecently short jackets
or doublets hitherto worn by knights and squires. The pikes or points of the shoes
and boots were limited to a length of 2 inches, excepting only those of the nobility,
who had the privilege of wearing them from 6 to as much as 24 inches long. Stuff-
ing of wool, or as we should call it padding, was used to such an extravagant degree
by the fine young gentlemen of the period that their shoulders looked absolutely
deformed. In the armour there is the same padded, bulging look which we recog-
nise in the civil costume The silk surcoat of earlier days was seldom or ever
used, but instead of it they wore either a tabard of arms, as worn by heralds, or a
long sleeveless cloak open at the sides. The costume of the ladies was as costly and
extravagant as that of the gentlemen. The gowns had enormously wide borders of
fur or velvet. Conical caps, as much as three-quarters of a yard high, were quite the
correct thing ; loose fine kerchiefs hung from the top of them, reaching nearly to the
ground. One of these head-dresses, when' bordered by wings, was known at the
time by the name of ' butterfly ;' and head-dresses of this kind, made of starched and
430 APPENDIX
wired lawn, may yet be seen in St. L6, with the butterfly's wings and all complete as
they were worn four centuries ago.
[In the costume of the time of Richard III there was very little change from that
just described.] The embroidered pattern of this time was that composed of what
was called ' the nett and pyne apple,' a decoration that seems to have been not only
a great favourite, but a very long-lived one. For the head, men used hats of estate,
the rolls behind and the beeks (peeks) before ; little round caps or bonnets (don^/s),
with fur edging and a feather, something like a lady's modem pork-pie hat ; and the
cape with its hood. Top-boots, 9 or 10 inches higher than the knee and very long
pointed toes, were commonly worn. The doublets and gowns were of satin, velvet,
or cloth of gold lined with velvet, many of them being richly embroidered with per-
sonal badges or the fashionable pattern above mentioned. In the ladies' dresses we
note first the disappearance of the tall head-gear, and in its place we see a reasonable
caul or net of gold confining the hair at the back of the head, with a very fine ker-
chief stiffened into shape as in the preceding reign On ordinary occasions the
hair seems to have been worn loosely hanging over the shoulder, au nature/. It
requires no wonderful wit to render such a costume eminently pleasing.
Richard Grant White {Studies in Shakespeare^ 1886, p. 242) : It would seem
as if all the Rosalinds — all of them — ^laid themselves out to defy both Shakespeare
and common sense in this matter [of costume] to the utmost of attainable possibility.
When they come before us as Ganymede, they dress themselves not only as no man
or boy in England, but as no human creature within the narrow seas, was dressed in
Shakespeare's time. Instead of a doublet, they don a kind of short tunic, girdled at
the waist and hanging to the knee. They wear long stockings, generally of silk,
imagining them to be hose, and ignorant, probably, that in Shakespeare's time there
were not a dozen pair of silk hose in all England. Nevertheless, they go about with
nothing but light silk stockings upon their legs amid the underwood and brambles
of the Forest of Arden. With some appreciation of this absurdity, one distinguished
actress in this part wears long buttoned gaiters, which are even more anachronistic
than the silk stockings. Upon their heads they all of them, without exception, wear
a sort of hat which was unknown to the masculine head in the days of Elizabeth and
James, — a low-crowned, broad-brimmed something, more like what is known to ladies
of late years as a ' Gainsborough ' than anything else that has been named by milli-
ners. If a man had appeared in the streets of London at that day in such a hat, he
would have been hooted at by all the 'prentices in Eastcheap. There was not in all
the Forest of Arden a wolf or a bear, of the slightest pretension to fashion, that would
not have howled at the sight of such a head-gear. Briefly, the Rosalinds of the stage
are pretty impossible monsters, unlike anything real that ever was seen, tmlike any-
thing that could have been accepted by their lovers for what they pretend to be, and
particularly unlike that which Shakespeare intended that they should be.
Let us see what Shakespeare did intend his Rosalind to be when she was in the
Forest of Arden Plainly, when the young princesses set forth on their wild
adventure they did all that they could to conceal the feminine beauty of their faces.
Celia puts herself in the dress of a woman of the lower classes. Rosalind assumes
not merely the costume of a young man, but that of a martial youth, almost of a
swashbuckler. She says that she will have * a swashing and a martial outside,' as
well as carry a boar-spear in her hand and have a curtle-axe upon her thigh. And,
by the way, it is amusing to see the literalness with which the stage Rosalinds take
COSTUME^ WHITE 43 1
up the text and rig themselves out in conformity with their construction, or it may be
the conventional stage construction, of it. They carry, among other dangling fallals,
a little axe in their belts or strapped across their shoulders. But Rosalind's * curtle-
axe ' was merely a short sword, which she should wear as any soldierly young fellow
of the day would wear his sword.
Thus browned, and with her hair tied up in love -knots, after the fashion of the
young military dandies of that time, with her boar-spear and her cutlass, she would
yet have revealed her sex to any discriminating masculine eye had it not been for
certain peculiarities of costume in Shakespeare's day. There were the doublet and
the trunk-hose. Rosalind, instead of wearing a tunic or short gown, cut up to the
knees, should wear the very garments that she talks so much about, and in which I
never saw a Rosalind appear upon the stage. A doublet was a short jacket with
close sleeves, fitting tight to the body, and coming down only to the hip or a very
little below it. Of course its form varied somewhat with temporary fashion, and
sometimes, indeed, it stopped at the waist. To this garment the hose (which were
not stockings, but the whole covering for the leg from shoe to doublet) were attached
by silken tags called points. But during the greater part of Shakespeare's life what
were called trunk-hose were worn ; and these, being stuffed out about the waist and
the upper part of the thigh with bombast or what was called cotton- wool, entirely
reversed the natural outline of man's figure between the waist and the middle of the
thigh, and made it impossible to tell, so far as shape was concerned, whether the
wearer was of the male or female sex. Rosalind, by the doublet and hose that
Shakespeare had in mind, would have concealed the womanliness of her figure even
more than by her umber she would have darkened, if not eclipsed, the beauty of her
face. This concealment of forms, which would at once have betrayed her both to
father and lover, was perfected by a necessary part of her costume as a young man
living a forest life : these were boots. An essential part of Rosalind's dress as Gany-
mede is loose boots of soft tawny leather, coming up not only over leg, but partly over
thigh, and almost meeting the puffed and bombasted trunk -hose. To complete this
costume in character, she should wear a coarse russet cloak and a black felt hat with
narrow brim and high and slightly conical crown, on the band of which she might put
a short feather and around it might twist a light gold chain or ribbon and medal. Thus
disguised, Rosalind might indeed have defied her lover's eye or her father's. Thus
arrayed, the stage Rosalind might win us to believe that she was really deluding Orlando
with the fancy that the soul of his mistress had migrated into the body of a page. This
Rosalind might even meet the penetrating eye of that old sinner Jaques, experienced
as he was in all the arts and deceits of men and women in all climes and countries.
With this Rosalind, Phebe indeed might fall in love ; and a Phebe must love a man.
Nor are the perfection of Rosalind's disguise and concealment of her sex from the
eyes of her companions important only in regard to her supposed relations with them.
It is essential to the development of her character, and even to the real significance
of what she saj's and does Rosalind, for all her soft, sweet apprehcnsiveness
and doubt alx)ut Orlando's value of that which she has given to him before he had
shown that he desired it, enjoys the situation in which she is placed. She sees the
fun of it, as Celia, for example, hardly sees it; and she relishes it with the keenest
ap|)etite. If that situation is not emphasized for the spectators of her little niiysterious
mask of love by what is, for them, the absolute and perfectly probable and natural
deception of Orlando, Rosalind lacks the very reason of her being. To enjoy what
she does and what she is, to give her our fullest sympathy, we must not be called
432 APPENDIX
upon to make believe very hard that Orlando does not see that she is the woman that
he loves ; while at the same time we must see that he feels that around this saucy lad
there is floating a mysterious atmosphere of tenderness, of enchanting fancy, and of a
most delicate sensitiveness. Moreover, we must see that Rosalind herself is at rest
about her incognito, and that she can say her tender, witty, boy-masked sayings
undisturbed by the least consciousness that Orlando's eyes can see through the doub-
let and hose, which at once become her first concern, her instant thought, w^hen she
is told plainly that he is in the Forest of Arden. The perfection of her disguise is
thus essential to the higher purpose of the comedy. Rosalind was fair; but after
having seen her in her brilliant beauty at the court of her usurping uncle, we must be
content, as she was, to see it browned to the hue of forest exposure and deprived of
all the pretty coquetries of personal adornment which set so well upon her sex, and
to find in her, our very selves, the outward seeming of a somewhat overbold and
soldierly young fellow, who is living, half-shepherd, half-hunter, in welcomed com-
panionship with a band of gentlemanly outlaws. Unless all this is set very clearly
and unmistakeably before us by the physical and merely external appearance of our
heroine, there is an incongruity fatal to the idea of the comedy, and directly at vari<
ance with the clearly defined intentions of its writer.
That incongruity always exists in a greater or less degree in the performance of
all the Rosalinds of the stage. I can make no exception. In case of the best Rosa*
linds I have ever seen, the supposition that Orlando was deceived, or that any othei
man could be deceived, in the sex of Ganymede was absurd, preposterous. They all
dress the page in such a way, they all play the page in such a way, that his woman«
hood is salient. It looks from his eye, it is spoken from his lips, just as plainly as i1
is revealed by his walk and by the shape and action of the things he walks with«
That they should dress the part with female coquetry is, if not laudable, at least
admissible, excusable. The highest sense of art is perhaps not powerful enough to
lead a woman to lay aside, before assembled hundreds, all the graces peculiar to her
sex ; but surely no artist, who at this stage of the world's appreciation of Shakespeare
ventures to undertake the representation of this character, ought to fail in an appre-
hension of its clearly and simply defined external traits, or in the action by which
those traits are revealed
(P. 256) : All this may be very true, our gently smiling manager replies ; but do
you suppose that you are going to get any actress to brown her face and rig herself
up so that she will actually look like a young huntsman, and play her part so that a
man might unsuspectingly take her for another man ? O most verdant critic, do you
not know why it is actresses come before the public ? It is for two reasons, of which
it would be hard to say which is the more potent : to have the public delight in them,
and to get money. It is in themselves personally that they wish to interest their audi-
ences, not in their author or his creations She must have an opportunity to
exhibit herself and her * toilettes ;' especially both, but particularly the latter. And,
O most priggish and carping critic, with your musty notions about what Shakespeare
meant and such fusty folly, the public like it as it is. They care more to see a pretty
woman, with a pretty figure, prancing saucily about the stage in silk tights and iDehav-
ing like neither man nor woman, than they would to see a booted, doubleted, felt-
hatted Rosalind behaving now like a real man and now like a real woman. To
which the critic replies, O most sapient and worldly-wise manager, I know all that ;
and, moreover, that it is the reason why, instead of a Rosalind of Shakespeare's mak-
ing, we have that hybrid thing, the stage Rosalind.
JOHNSON'S LOVE IN A FOREST 433
JOHNSON^S LOVE IN A FOREST
In 1723, Charles Johnson, who apparently relieved his mind after the duties of
keeping a tavern in Bow Street by unbending it over Shakespeare, had influence
enough with Gibber and with Wilks to induce them to bring out at Drury Lane, where
it ran for six nights, his version of As You Like 7?, which he re-named Love in a
Forest.
This version or perversion, with its monstrous jumble of plays, would have received
no notice here, were it not that, curiously enough, it anticipates George Sand in
devising a love-match and marriage between Jaques and Gelia. Johnson's Dramatis
Persona will, of themselves, give a sufficient indication of the composite character of
this hodge-podge : ' Jaques ; Orlando ; Alberto, the banished Duke ; Adam ; Oliver ;
Duke Frederick ; Amiens ; Robert de Bois ; Le Beu ; Gharles, Master of the Duke**
Academy; Rosalind; Gelia; Pyramus; Wall; Moonshine; Thisby.*
Genest (iii, loi) gives a synopsis of the play which is more than amply ftdl, and
is as follows :
Act First : The wrestling between Orlando and Gharles is turned into a regular
combat in the Lists, — Gharles accuses Orlando of treason ; several speeches are intro-
duced from Richard II.
Act Second: When Duke Alberto enters with his friends, the speech about the
wounded stag is very properly taken from the First Lord and given to Jaques ; an
improvement [sic'] which is still retained on the stage, — in the next scene between the
same parties, notwithstanding Touchstone is omitted, yet Jaques gives the description
of his meeting with a fool, — much, however, of his part in this scene is left out very
injudiciously, as is still the case when As You Like It is acted.
Act Third : The verses which Gelia ought to read are omitted, and Touchstone's
burlesque verses are given her instead, — ^when Orlando and Jaques enter, they begin
their conversation as in the original, and end it with part of the First Act of Much
Adoy — ^Jaques speaking what Benedick says about women, — ^when Rosalind and Gelia
come forward, Jaques walks off with Gelia, — Rosalind omits the account of time's
different paces, — ^Jaques returns with Gelia and makes love to her, after which he has
a soliloquy patched up from Benedick and Touchstone, with some additions from G.
Johnson.
Act Fourth begins with a conversation between Jaques and Rosalind, in which he
tells her of his love to Gelia, — ^in the scene between Orlando and Rosalind consider-
able omissions are made, and Viola's speech, ' She never told her love,' &c., is inserted,
— Robert (Jaques) de Bois brings the bloody napkin to Rosalind, instead of Oliver,
who does not appear after the First Act^ — Robert says that he (not Oliver) was the
person rescued from the lioness, — that Oliver had killed himself, &c. — the Act con-
cludes with the Second Scene of Shakespeare's Fifth Act, in which Rosalind desires
all the parties on the stage to meet her to-morrow, — ^Jaques and Gelia are made in
some degree to supply the place of Sylvius and Phebe.
Act Fifth consists chiefly of the burlesque tragedy of Pyramus and Thisbe from
Midsummer Nighfs Dream ; this is represented before the Duke, while Rosalind is
changing her dress, instead of Touchstone's description of the quarrel, — ^when Rosa-
lind returns, the play ends much as in the original, except that Jaques marries Gelia,
instead of going in quest of Duke Frederick, and that the Epilogue is omitted.
[See also the notice in * Music,* post^ of a composition by Henry Garey, called
The Huntsman^s S<mg, introduced in Love in a Forest."]
28
434 APPENDIX
MUSIC
Vnder thegreene wood tree.
Act II, Scene v, Lines 3-9.
Alfred Roffe {^Handbook of Shakespeare Music ^ London, 1 878, p. 6) : Before I
speak for myself as to the music belonging to this beautiful pastoral, I wish to let Mr
Linley be heard. The following are his words respecting the music for Amiens : * In
< this charming play several songs are introduced, two of which have been delightfully
* set to music by Dr Arne. Of both these pieces the Doctor has omitted to notice
'some of the words; a circumstance greatly to be regretted, and difficult to be
* accounted for. The first song, " Under the greenwood tree," is in the play followed
* by a chorus, " Who doth ambition shun," which could not so well have been sung
* to the opening strain, but how easily, and with what superior characteristic effect,
* could he not have proceeded with the chorus in question.* Dr Ame's felicitous
setting of Amiens's first song, * Under the greenwood tree,* is of course well known
to every one who cares for Shakespeare and for music. It had at first seemed to me,
as to Mr Linley, singular that the Doctor had not included the words, ' Who doth
ambition shun,' in his composition,— setting them to another, or varied, strain, of course ;
but it has since occurred to me, that at all events it does not follow, but that the Doc-
tor may have composed ' Who doth ambition shim * as a chorus, following the stage-
direction of * All together here,* and yet that it may never have been printed. All
who are interested in old opera and oratorio music know how unmercifully choruses
and recitatives are left unprinted. It must also be remembered that there is a cer-
tain amount of most characteristic dialogue, which takes place between the close of
Amiens's song and the introduction of the chorus. [For the purpose of showing
that * in the drama " Under the greenwood tree ** and " Who doth ambition shun '*
are really two distinct pieces,* Roffe here cites lines 10-37 of this same scene, and
then continues :] Observe the expression used by Jaques, * Come, sing ; and you that
* will not, hold your tongues.* From this it plainly seems that Jaques looks for a
chorus ; and although Amiens replies, * I'll end the song,* that would merely relate
to the fact that he is the leader of the rest, — the solo singer whenever, not merely a
song is required, but also the little piece of solo requirement which often belongs to
a chorus.
The want which in this case Mr Linlf.y felt, he has in some measure supplied, so
far as his own work was concerned, by composing music to the words, * Who doth
ambition shun ' as a chorus to follow at once upon Dr Ame*8 song. Still, the
dramatic effect is not attained, as Mr Linley has written his chorus for first and
second sopranos and bass (with a view to performance in the drawing-room only),
and not for male voices entirely, as required by the stage situation.
Dr Ame's melody has been arranged as a glee for four male voices by Sir Henry
BrsHOPy and in that form was introduced into the operatised Comedy of Errors. [He
also arranged Dr Ame's melody for Voice and Piano in his The whole of the Music
in As You Like It, 1824, pp. 34-37. — New Shakspere Society, p. 4.] There is a little
three-voiced * Under the greenwood tree ' in a book of vocal compositions by Maria
Hester Park (date, about 1790). Lastly, as far as I at present know, there is a
very elaborate setting of the song by Stafford Smith, 1792. The first soprano part
of this composition, which is a glee for four voices, is of a somewhat florid character,
and the glee altogether is one which I doubt not, if it were skilfully performed, would
give much pleasure to the Shakespearian musician.
MUSIC 435
The New Shaksfere Society \LUt cf Songs, &c., Series VIII, Miscellanies,
^o* Z% P* 4) ^A'dA the following settings :
Edward Smith Biggs, about 1800. Three voices.
G, A, Macfarrbs, 1869. Soprano, Alto, Tenor, Bass. Novello's Fart-Song
Book.
H. IV. Wareing, 1878. Soprano, Alto, Tenor, Bass. Part-Song. Novello.
[In OechelhAuser's adaptation for the German stage (1870), a setting, as a duet,
of this song is given, composed by Ed. Tniele, Hof kapellmeister in Dessau.]
Blow, blow, thou winter winde.
Act II, Scene vii. Lines 185-197.
ROFFE (^Ibidy p. 9) : Dr Arne's beautiful setting of this song is of course known
to every one who thinks of Shakespeare and music. It does, however, really seem
somewhat singular that the Doctor should have omitted to set the burthen * Heigh,
ho ! the holly,' &c. It cannot but be considered as a great mistake not to have set
the poem entire. Mr Linley has remarked upon the fact of this omission, and has
accordingly composed the music himself for the burthen, and has added it to Dr
Ame*s melody. Mr Linley, as I imagine, has executed his self-imposed task very
felicitously, and it can hardly be conceived that any one, after hearing the song with
Mr Linley's addition, would ever desire to hear the Doctor's beautiful melody with-
out Shakespeare's * Heigh, ho ! the holly,' as made musical by Mr Linley. N. B.—
Any baritone, desirous of singing Amiens's song with Linley's addition, will find the
whole flow on very pleasantly by transposition into the key of Ebi which will then
make the highest note fall on the upper F.
Mr jr. J. Stevens has set this song in its entirety as a four-voiced glee, for
soprano, alto, tenor, and bass, producing a very attractive composition of its kind ;
and Sir Henry Bishop, having harmonised Dr Arne's air for four male voices (to be
introduced into the operatised Comedy of Errors), has added, with the proper
acknowledgement to Mr Stevens, the burthen from his glee. In this case Sir Henry
has raised the key from B b, the original key, as sung by Mr Lowe (at least according
to the printed copy), to C, so as to use an alto voice for the melody, accompanied by
two tenors and a bass. Of Dr Arne's melody, strictly, there is another arrangement,
as a glee for four male voices, by the eminent glee composer John Danby. In this
case the original key is retained, so that the glee might be called one for three tenors
and a bass.
In a collection of Vocal Music composed by Samuel Webbe, the younger, pub-
lished about 1830, will be found an elaborate setting of this song as a glee for five
voices.
There is a setting of this song by the Hon. Mrs Dyce Sombre, This is a slow
air (in the key of D), and suitable for either contralto or baritone, or, indeed, for any
voice, the com})ass being only from the lower CI to D. The melody is simple, and
not without a certain feeling, however remote from the merits of that of Dr Ame.
The burthen * Heigh, ho,' &c. is omitted.
There is also a setting of this song by Agnes Zimmerman, which I find reviewed
in 77te Athenaum for 27 June, 1863. I transcribe the words of the critic, who, of
this and of another composition by Miss Zimmerman, writes that they * go far to jus-
* tify the reputation gained by this young lady in the Royal Academy.* The critic
then goes on to give his view, that ' there is a certain ungraciousness of character in
* the Shakespeare song, referable, no doubt, to the words ; but be it right, be it wrong.
436 APPENDIX
* we prefer Ame's rendering. The mixture of melancholy, melody, and freshness in
his setting is almost unparagoned in the library of Shakespeare's songs.'
The latest setting of this song, that I have heard of, is a < part-song ' composed by
^. ScHACHNERf and published in 1865.
The New Shakspere Society : —
Mrs a. S. Bartholomew (first Mounsey), 1857. Part Song. S., A., T., B.
*Six four-part Songs,' No. 3. Novello.
G, A. MACFARRENf 1864. Part Song. S., A., T., B. Novello. * Choral Songs,'
No. 7.
[In OechelhAuser's adaptation a setting of this song, as a Baritone Solo with
male chorus, is given, composed by Ed, Tn/ele, Hofkapellmeister in Dessau.]
From the east to westeme Inde,
Act III, Scene ii, Lines 87-92.
The New Shakspere SoaETY (lb. p. 5) : —
Sir Arthur S. SvLuvASt 1865. Solo, Soprano. Gdled * Rosalind.' Metzlet
& Co. He adds a spurious verse : * Rosalind, of many parts,' &c. [See lines 14^
153 of the same scene. It is hardly fair to call a verse 'spurious' which is Shake*
speare's own. The composer merely transferred the verse, which, I think, is quito
permissible. — Ed.]
What shall he hatie that kild the Deare f
Act IV, Scene ii. Lines 12-20.
See notes and music ad loc^ pp. 227-231.
RoFFE (p. 12) : John Stafford Smith set this song as a glee for alto, two tenoi^
and bass, and omitted the burthen [line 14]. This composition Mr Linley has
transferred to his work, adapting it, however, for two sopranos and a bass, apologising,
at the same time, for the liberty of introducing a strain for this burthen : < Then sing
him home,' &c. Sir Henry Bishop has written for TTie Comedy of Errors^ in his
very effective and dramatic style, a setting of this song including the burthen. Of
this work by Sir Henry Bishop, which is in E b, and for men's voices only, in foui
parts, it may be noted that in Tlie Shakespeare Album it is reproduced, but trans*
posed into Ab, and arranged for soprano, contralto, tenor, and bass, soli and
chorus.
There is a composition by Henry Carey, called The Huntsman's Song in Love
in a Forest, which is a setting of Shakespeare's song, with an alteration of certain
words in the original. [Lines 16-18] are transformed into * It was the crest thy
father wore, Thy father's father long before.* This composition by Carey, as printed,
is on only two lines, the one vocal and the other a simple bass. There appears no
sjrmphony either for the introduction or the close, and no parts are given for the
chorus, which is merely indicated by the word * Chorus.' .... No doubt this is the
same piece of music of which mention may be found in an advertisement for a benefit
at the Theatre Royal, Drury Lane, upon Tuesday, 12th of May, 1723, wherein we
are promised : < Several Entertainments of Singing and Dancing, particularly a Song
* on the Death of a Stag. The words by Shakespeare, set to music by Mr Henry
* Carey, and sung by Mr Ray, accompanied by French Horns, concluding with a
Dance of Foresters.'
MUSIC 437
There is a three-part composition to this hunting-song by Dr Phiup Haybs, It
is in a simple style, and I think has not the burthen, which is given by Carey.
There is also in Warren's Collection a setting of this song by R. J, Stevens^
with the burthen. The composition is for four male voices.
The New Shakspere Society {Jb. p. 6) . —
E. EoGARy 1881. < The horn, the horn.'
// was a Louer, and his lasse.
Act V, Scene iii, Lines 17-34.
See notes and music ad loCy pp. 262-263.
RoFFE (p. 16) : [In addition to the setting of this song as a duet by Linley^
there is also] a setting, as a glee, by R. J. Stevens, This is one among that com-
poser's favorite pieces. Sir Henry Bishop has likewise a setting in the solo form,
which was sung by Miss M. Tree in the operatised Comedy of Errors.
Lastly, I find in a Catalogue a setting of this song put down as a < part-song,''
composed by S. Re ay in 1862 ; and again, another ' part-song ' setting by Edward
LoDER is to be found in the prognunme of a performance at St James's Hall on the
22nd of April, 1864.
The New Shakspere SoaEXY (75. p. 7) :—
F. Stanislaus^ 1868. Solo, Soprano or Tenor. Ashdown.
G. A. MacfarreNj 1869. Part Song, S., A., T., B. Novello.
J(. HiLES^ 1870. S., A., T., B. Novello.
C. H. Hubert Parry^ 1874. < Spring Song.* *A Garland/ No. 2. Contralto.
Sung by Mad. Ant. Sterling. Boosey.
M. B. Foster, 1876. Solo, Contralto. Alfred Phillips. Kilbum.
J. Meissler^ 1877.
C, Labuneyer, 1 88 1. * In the spring-time.*
D. Davies. Part Song. First sung May 7, 1883, at the Highbury Philharmomc
Society.
DrJ. C, Bridge^ Nov., 1883. Part Song. S., A., T., B. Novello.
B. LuARD Selby. Part Song. Novello.
J, Booth. Part Song. Novello.
Michael Watson. Part Song. S., A., T., B. Ashdown.
[OechelhXuser gives a setting, as a duet, of this song, by Ed. T^/els, Hof-
kapellmeister in Dessau.]
H3rmen. Tlhen is there mirth in heaven.
Act V, Scene iv. Lines 111-118.
RoFFE (p. 17) : Mr Linley, after he has given the high praises due to Dr Ame^s
compositions for the songs of Amiens, goes on to assign his reasons for not allowing
this song of Hymen to appear at all in his work. These are Linley's words, with a
few italics of my own : — *■ There is another song of Arne'S introduced when this play
* is performed, which begins : " Then is there mirth in Heaven ;" bat the words are
< not Shakespeare s^ neither does the tune bear any comparison with the pastoral air-
< iness and originality of the former pieces.* It is curious that Linley offers not the
least authority for his assertion [as to the authenticity of the words]. As to his
43a APPENDIX
remark upon Ame's setting of this Hymen song, as compared with that of Amiens's
song, no one wotdd dispute its truth.
Hymen's song has been set not only by Arne, but also (much more happily, to
my mind) by Sir Henry Bishop, whose composition I heard, when Sir Henry's
operatised As You Like It [was first brought out], most attractively given by Master
Longhurst, who personated Hymen* There are many triplets ia the composition,
which were executed with a most agreeable neatness.
The New Shaksperb Society {lb. p^ 8) : In his setting of the operatised 7\uo
Gentlemen of Verona, 1821, Sir H. Bishop has, at pp. 81-91, first a Soprano Solo of
the first four lines of Sonnet 2^, then a Chorus made up [as follows : ' Good Duke !
receive thy daughter! Hymen from Heaven brought her. Such is great Juno's
crown : To Hjnnen, honour and renown !'], and then a duet, one soprano taking the
first four lines of Sonnet 2^, the other, the first four of Sonnet 97.
[I have a setting composed by C. Dibdiit, arranged for the Piano by J. Addison,
published by Caulfield. — £d.]
Wedding is great lunos crown.
Act V, Scene iv, Lines 144-149.
Roffe (p. 18) : This has been set by Thomas Chilcot, whose work, Linley
writes, ' he should have gladly introduced had he found it in any degree expressive
* of thej^nse of the words.* Linlby considered it * too flippant for the dignity of the
< sentiments.' He has, therefore, set the words himself, and no doubt with infinite
superiority. Chilcof s setting, which I have seen, I take to be of about the year
1740. [I have it arranged for the Piano by J. Addison, Caulfield. — Ed.]
The New Shakspere Society {lb. p. 9) :—
B. Tours, 1882. Part Song. Unpublished.
PLAN OF THE WORK, &c.
In this Edition the attempt is made, to give, in the shape of Textual Notes, on
the same page with the Text, all the Various Readings of As You Like Ity from the
First Folio to the latest critical Edition of the play ; then, as Commentary, follow
the Notes which the Editor has thought worthy of insertion, not only for the purpose
of elucidating the text, but at times as illustrations of the history of Shakespearian
criticism. In the Appendix will be found discussions of subjects, which on the score
of length could not be conveniently included in the Commentary.
LIST OF EDITIONS COLLATED IN THE TEXTUAL NOTES.
The First Folio
The Second Folio ,
The Third Folio ,
The Fourth Folio
RowE (First Edition)
RowE (Second Edition)
Pope (First Edition)
Pope (Second Edition) ,
Theobald (First Edition)
Theobald (Second Edition) . .
Hanmer
Warburton
Johnson
Capell
Johnson and Steevens
Johnson and Steevens ,
Johnson and Steevens
Malone
Steevens
Rann
Reed's Steevens
Reed's Steevens
BoswELL's Malone
Caldecott
Knight
Collier (First Edition)
Halliwell (Folio Edition) . .
Singer (Second Edition)
Dyce (First Edition)
Collier (Second Edition)
Staunton
R. Grant White (First Edition)
Cambridge (Clark and Wright) . .
439
[F.] .. .
. . 1623
[F,] .. .
. . 1632
[F3] .. .
. . 1664
[FJ .. .
. .. 1685
[Rowe i] .
.. 1709
[Rowe ii]
.. 1714
[Pope i]
.. 1723
[Pope ii]
. . 1728
[Theob. i] .
.. 1733
[Theob. u] .
.. 1740
[Han.]
.. 1744
[Warb.]
.. 1747
[Johns.]
. .. 1765
[Cap.]
. (?) 1765
[Steev.'73] .
.. 1773
[Steev.'78] .
. .. 1778
[Steev.'Ss] .
. .. 1785
[Mai.]
.. 1790
[Steev.]
.• 1793
[Rann]
(?) 1794
[Var. '03] .
.. 1803
[Var.'is] .
. . 1813
[Var.]
. . 1821
[Cald.]
.. 1832
[Knt]
. . 1841
[Coll. i]
.. 1842
[Hal.]
.. 1856
[Sing. H]
. .. 1856
[Dyce i] .
. .. 1857
[Coll. u] .
. .. 1858
[Sta,]
.. 1858
[Wh. i]
.. 1861
[Cam.]
. .. i86j
440 APPENDIX
Globe (Clark and Wright) . . . . [Glo.] 1864
Keightley [Ktly] 1864
Charles and Mary Cowden-Clarke [Clarke] (?) 1864
Dyce (Second Edition) . . . . . . [Dyce ii] 1866
Clarendon (William Alois Wright) [Cla.] 1877
Dyce (Third Edition) [Dyce iii] 1875
Collier (Third Edition) . . . . [Coll. iii] 1877
Rolfe [Rife] 1878
Hudson [Huds.] i88o
R. Grant White (Second Edition) . . [Wh. ii] 1883
In the Textual Notes the symbol Ff indicates the agreement of the Second,
Third, and Fourth Folios.
The omission of the apostrophe in the F^, a peculiarity of that edition, is not gene-
rally noted.
The sign + indicates the agreement of RowE, Pope, Theobald, Hanmer, War-
burton, and Johnson.
When Warburton precedes Hanmer in the Textual Notes, it indicates that Han-
mer has followed a suggestion of Warburton's.
The words et cet after any reading indicate that it is the reading of all other
editions.
The words et seq. indicate the agreement of all subsequent editions.
The abbreviation [subs.^ indicates that the reading is substantially given, and that
immaterial variations in spelling, punctuation, or stage directions are disregarded.
An Emendation or Conjecture which is given in the Conunentary is not repeated
in the Textual Notes unless it has been adopted by a subsequent editor ; nor is conj.
added to any name in the Textual Notes unless the name happens to be that of an
editor, in which case its omission would be misleading.
The colon is used as it is in German, as equivalent to * namely.*
All citations of Acts, Scenes, and Lines in Romeo and Juliet^ Macbethy Hamlet^
Lear^ Othello^ and The Merchant of Venice refer to this edition of those plays ; in
citations from other plays the Globe Edition is followed.
I have not called attention to every little misprint in the Folio. The Textual Notes
will show, if need be, that they are misprints by the agreement of all the Editors in
their correction.
Nor is notice taken of the first Editor who adopted the modem spelling, or who
substituted commas for parentheses, or changed ? to !.
Coll. (ms) refers to Collier's annotated F,.
QuiNCY (ms) refers to an annotated F^ in the possession of Mr J. P. QuiNCY.
In the Commentary, the Clarendon Press Edition is cited imder the name of
its Editor, Wright.
Allen (ms), and sometimes simply Allen, refer to the marginal notes written by
the late Professor George Allen, of The University of Pennsylvania^ in his copy
of the play, which was kindly given to me by his daughters, and is now one of my
valued possessions.
To economise space in the Commentary, I have, in general, cited merely the name
of an author and the page. In the following List of Books used in the preparation
of this play, enough of the full title is given to serve as a reference.
.. J
PLAN OF THE WORK 441
Holinshed: ChrsnieUi 1574
Painter Falaif e/Pleasurt {ed. Haslewood) tS7S
Scot Discavtrir of Witchcraft (cd. Nicholson) 1584
GuAZZO Civitt CoHveriation (trani. Young) 1586
Habikoton Mclitmorphosis e/Ajax (ed. Singer) 1596
SiDVSt: Arcadia 159^
CoKVKT, Cnuiilitt [ed. iTjd) 1611
moLUina: TranilaXiimB/Pliitie'lNatunilHislory I63S
ASCKAM; ToxBphilai (Arber) 1640
Bamatys Journal (ed. 1805) {circa) 1640
Rav Proverb! {td. 1S17) 1670
LangbAine : An Accmnt of lie EngliiA I}ramalic Pottt, &'e. . . . . l6gi
"iiXX.-. Niw Mcnmirs of Milton 1740
Drayton iVotks 1740
TJPTOK OiservalioHi, &•[. 1746
WkaU-EY Enquiry into tke Learning of SAaieiftare I748
Gkk^: Critical, Itiitori^al, and Explanatory Notts 1754
Edwahds Canons of Crilicism 1765
PeBCV ! Reliques of Ancient English Poetry 1 765
'O.u.-ia: Reviia! of Shakespeare's Text I76S
Kbnkick ; Review of Johnson 1765
Critical Review 1765
Tyrwhitt Observations, &'c. 1766
Faruer ; Essay en the Learning of Shakespeare 1767
Gentleman Dramatic Ceasar 1770
Mrs Griffith Morality of Shakespeare's Drama 1775
Cafell's Nous, Gi'e. 1779
Le ToUliNEL-I! Shakespeare, traduit de V Anglois,^aia 1781
RiTSON : Remarks, 6v. I783
XiMlYB: Dramatic Miscellanies _^s^ — 7-. -n — . , 1784
HONCK Mason Comments, A'c. 1785
DoviHBS: Xoseins Anglicanu ed. Waldron; ed. Knight, 18S7) .. .. 1789
Whiter 1 Specimen efa Commentary, &-c. An attempt to explain and illus-
trate -vaAous passages an anew principle of eriticism, derived from Locke' s
Doctrine of the Association of Ideas 1794
Brand Popular AnliqHities,&'e ifiotm'itA.) 1795
Chalmers Supplemental Apology I799
Doucs niustraliens of Shakespeare, &v. 1807
A. W ScHLEGEL Lectures, tr«n». by Black, London 1815
J P Kemble Acting Copy 1815
CoLERIDCE Biegraphia Lilertiria (ed. 1874) 1817
^KtX.^: Shakespeare and His Times 1817
'a.Kl\.\TV: Characters of Shakespeare's Plays, b'e. 1817
Nichols : Literary IllHslralions, &'c., vol. ii 1817
SkoTTOWE Life of Shakespeare 1824
BOADKS: Life of J. P. Xemile 1825
TlecK [i/eiersetit von ScAleg'el), BetVm l8l6
BOADEK : Memoirs of Mrs Siddoas 1827
Harness : Shakespeare's Dramatic Works 1830
443 APPENDIX
fl<yi.\.\tXiHUtBryo/Englah.DramatUPattry(^i.a,^&']<^ 1831
GalT! Lives ef !h.- t'laytr-i 1831
Mrs Jameson : Ciaraitmui^s of Womtn 183a
GlXitS^x Somt Aiiotmlof the English Stage 1833
Hallam Inlr^adiBit le Ike Litrraturt of Europe 1837
Guest : Jlhtury o/E^ngltik Rkythtiu
Thomas Cam 1- BELL JjTamatii Works of Shakespeare
C. A. IltiuWN Shaiespear^i Autoiiog-rnpkical Poena
Collier Skakesfear^j Library
Dyce Remark!, ^e.
Hunter New IHustralions &*c
Verplanck S!„iit!pt.ir/s IVoris. Nev YoA
Fl^TCHER : Sfii^fii-i ,'/Si,ii,-i/-ni>r
Marlowe : ffbris (ed. Dyce)
Hartley Coleridge : Essays and Marginalia
Collier : Notes and Emendations 1853
Singer: Shah^speor/ Tixl Vindicated 1853
DVCE! FrwA'aIrs &'c 1853
J. V. QuiNCY MSCorreHuim in a Copy of the Fourth Folio, BoMon . . 1854
W. S. Walker Skaiespeare't Vmi^cation
R. G. White Shakespeare Scholar 1854
CoLUER Smtn Ltetures 0/ Coleridge, &-e 1856
Bathurst Remarks OHihi Differences in Siaiespear/s Poetry, e^c. .. 1857
LlLLV DramalieiVorii^i^Vaiihail.')
G. L. Craik English B/Shaiespeare{tA.Vi),'LaaAotL 1859
Dyce Strictures, &•[. 1859
Walker CrilicilF.xaminalion of the Text, 6*i-. 1859
Lord Campbell: ShiTki-'piinr's Lrgul Acquirements, New York . . . , 1859
S.]t3.Vl%: Pri^osed £mc!iJ:i!ioiis
Dr J. C. BUCKNILL; Shakesptari' i Medical Kmraile^
MagINN : Shakespeare Papers
F. Kei-"V3>ii; VorlesungntBier Shakespeare,^vs\\ii
C. ■GjWdeN-Cla.BKE Shaiespeare Character!, S-f 1863
Beisiv Shatsper^s Garden
Bishop Wordsworth Shakespeare atid tki Bibli 1864
R. Cahtwright Neo) Readings
W W SttEAT Wilti4sm ofPatemi (E, E. T. Soc.)
Kh;chtley Shakespeare Eipositor
H. Giles Human Life in Shake^are
tJiNGELSTEDT Wie ts tuck gefStIt
W. L. Rushtoh ! Shakespeare's Testamentary Language
Ellis Early English Eronunciation (E. E. T. SocO
A.SCKMIIIT l/eierselittiai Schlegel), BerUa
French Sha6espear4ana Genealegica
E. A. Abbott ; Shakespearian Grammar (3d ed.)
P. A. Daniel: Notes and Emtndatioat
W. OechelhXuser : Wie es euch gefsllt. Filr die deutsche BUhne iearbeitet
RvsHTON : Shakespeare's Es^huistn
TAwNViH: fi^eseu^hgefiUa
PLAN OF THE WORK 443
Fr. V. Hugo : (Etwres confutes de Shakes^are^ Paris 1872
Gbrvinus : Shakespeare (4tli ed.), Leipzig 1872
ROFFE: Musical Triad 1872
MoBERLY (Rugby ed.) 1872
A. W. Ward : History of English Dramatic Poetry 1875
Ingleby : Shakespeare HertneneuticSy or The Still Lion 1875
J. Weiss : WU^ Humour^ and Shakespeare, Boston 1876
H. Ulrici : Shakespeare's Dramatic Art, trans, by Miss Schmitz . . . . 1876
F. G. Fleay : Shakespeare Manual 1 876
Fleay : Introduction to Shakespearian Study 1877
FURNIVALL : Introduction to The Leopold Shakspere 1877
Ingleby : Shakespeare, The Man atid the Book 1877
A. Roffe: Handbook of Shakespeare Music, London 1 878
Ellacombe: Plant Lore and Garden- Craft of Shakespeare 1878
C. M. Ingleby: Centurie of Prayse 1879
The Cowden-Clarkes : The Shakespeare Key 1 879
A. C. Swinburne: A Study of Shakespeare 1880
F. F. Heard : Shakespeare as a Lawyer, Boston 1883
Geo. Macdonald: The Imagination, Boston 1883
J. W. Hales : Notes and Essays 1884
Lady Martin : Shakespeare's Female Characters (Blackwood's Maga., Oct.) 1884
G. S. B. : The Prologue and Epilogue in English Literature 1884
Halliwell-Phillipps : Outlines of the Life of Shakespeare (5th cd.) . . 1885
K. G.VlniTE: Studies in Shakespeare 1886
OxoN : Analysis and Study of Macbeth and As You Like It 1886
F. G. Fleay: Life and Work of Shakespeare 1886
Mackay: Glossary of Obscure Words in Shakespeare 1887
The Irving Edition (edited by Marshall and Verity), voL iv . . . . 1888
Child : English and Scotch Popular Ballads (Part vi) 1889
Rev. John Hunter (Longman's Series) n. d.
Niel (Collins's Series) n. d.
C. E. Flower : Memorial Theatre Edition n. d.
Chappell : Popular Music of the Olden Time n. d.
W, C. Russell : Representative Actors n. d.
Fulton : Book of Pigeons n. d.
A List of Dictionaries is added merely for the sake of their chronological
order :
Cooper's Latin Dictionary 157^
Florio: Hisfirste Fruites 1578
Baaet*5 Alvearie , , . , 1580
Florio's Worlde of Wordes 1598
MmSHEV I Guide Into Tongues .. 1617
BuLLOKAR : English Expositor 162 1
MiNSHEU's Spanish Dictionary 1623
COTGRAVE : Dictionarie of the French and English Tongues 1632
Nares : Glossary (ed. Halliwell and Wright, 1867) 1 822
Richardson's Dictionary 1838
Halliwell's Archaic Dictionary , 1847
444 APPENDIX
Way: Promptonum Parvulorum 1865
Eastwood and Wright : Bible Word-Book 1866
Wedgwood's Dictionary of English Etymology (2d ed.) 1872
Schmidt's Shakespeare Lexicon 1874
Stratmann : Dictionary of the Old English Language 1878
Latham's y<?^«j(7/i 1882
Skeat: Etymological Dictionary 1882
Murray's New English IHctionary 1884
A, behn nnme™] •djcctitei
A, — poor a lliousand
Abwirptkm of definite article
41. "S
.. 17s
Adam, acted by Shakespeate
Addressed 2S1
Adjectiies in -aile or -iile . . . . 96
Adverbs with prelix a- . . . , 88
Aliena, accent of 60
AlUionce aoi
fcm, RR.rt Jhtiu and I .. ,, 56
Amaze confuse 31
Ambitious , . - < . . < 109
Amiens, RafTe on 67
And an 199, 2IZ
And, peculiar use of .. 156
Answer in 161
Anllcke, accent of 71
Arden, Forest of 16
Arden, H. Coleridge on . . S6
ArEumcul- subject 135
As namely, loitit . . ..65,244,276
A«, omilled after j^ 54
Aapect. astrologicall]' used ■ ■ . • 236
Ai, ndundanl use of . . . . 233
At JW Likt It. r,rigin of title . . 5
Atalanla's better pan . . . . 149
Alalanta's beets 167
At-as(?) 114
Athwart 19s
Atomies, pronandatJon of . . 162
Atlone 277
Audrey, origin of name . . . . 4
A week, too late S3
Baker's copy of F, Z9S
Bandy 250
Banqnet — dessert IQI
Bar, as a verti, without prepotition . . 10
Barbary cock-pigeon 220
Bastinado 150
Balhurst 303, 397
Batler 88
Bay of Portugal 225
Be, or have, with intransitive verbs 36
Be, after verbs of thinking . . . . 103
Ik-.ir Y\Ma.A\porttr ,, .. 79
Bear, play on words . . . , 85
Besrds 125
Beauty, have no 301
Be^arly — profuse 96
Beholding 215
Bequeath . . . . . . . , 283
Best, Ihon wert 20
Bestows 239
Belter parts 43
Better world - better age . . . . 48
Bills, on their necks . . , . 33
Biacuii, ilie remainder . . . , 108
Bitter fancy 24I
Blackwood's Maga., criticism \jj . . 395
Blank verse zl2
Blood, diverted 8t
Blue eye 174
Boar-spear 59
Bob 113
Body 346
Boldened 117
Bonny 78
Bottom 239
Bow, of an ox-yoke 189
Boy, nsed contemptuously . . . . 13
Break-promise 324
Breath'd 40
Breather I68
Brief 24s
Bring me out . . . . , , 163
Broken music 34
445
Brutith wing
Bugle
Buighen, nat[Te . .
Burthen of a »ong . , , , 163, a
Burthen of a sougi meaningless
Cage of rushes
Call Ing ■• appellation
Campbell, criticism b;
Caudle, go dark to bed
Capable impressure
Capell on Date of Compotition
Capon lined, Hales'i note . .
Capricious
Carlot
Cast lips
Cat aher kind
Ceniure
Change or chaise
Cfaalmera on Date of Compositioii
Chanticleer
Chaw
Chewing the food
Chiasm
Chopt or chapped
Chroniclcis — coronera (?) . .
Cicatrice
Civil — Bolemn
Cixilily
Oap into '(
Clapt
aubs
Cock-pigeon, Barbaiy
Collier's good faith . .
Colloquial use of verbal
Combine — Irind
Comfort
Command, to take upon
Compact
Complain — complain of the want
Complexion, Good my
Conceit — imagination
Conceit — mental capacity . .
Condition — character
INDEX
114
Confusion of ./and*
30A,
Confusion oft and M
tK,
Consent and sufferance
227
Conster^conslnie ..
a6^
Convertites
»43
Cope .. ..
Copulatives . .
174
Costume
41
Costume of Fool
395
Countenance
ao4
Counter
200
Courtship -court life
SOI
126
Cover lay the cloth
iHa
Covered fioblet ..
Cowden-aarkcB on Jaques
•9,1
CCowdtn-ClaikeonCelia
145
Cross, ploy on word
aio
Crow -laugh merrily
57
Curtelai
.loi
107
SI
Damask
240
Dark to bed . .
I IS
Daughter welcome . .
«9
Dead shepherd
218
Dear, a disyllable . .
200
Dear, meaning of . .
168
Defence — fencing . .
"47
Delied ..- ..
117
Degrees
215
Desperate . .
3«
Detect
Diall
90
Diana in the Fountain
268
Dies and lives
88
Disable
281
Disable -undervalue
101
llishonest
120
Dislike, Staunton's note
119
101
M«
nivrrt.'.n.i,«>,i
157
Divination by peascods
102
Dog-apes . . . .
251.
Double comparative . .
45
Double negative
INDEX
447
M
«
Dowden on Date of Composition
criticism on play ,
on Jaques . .
Drunkards
Dry brain
Ducdame
Duke Senior and Duke Junior
Dulcet diseases
e and d confounded . .
Effigies
£^gg> <^ ill-roasted . .
Egypt, the first-bom of
Elder, play on word . .
Else, redundant
Enchantingly
Encounter
Entame
Entrances marked in advance
Envious «> malicious . .
Erring
Estate «* bestow
Even a plain
Even now => exactly now
Every, as a pronoun
Exile, shifting accent
Exits, marked in advance .
Expediently «= expeditiously
Extent, legal term . .
Extermined = exterminated
Failof
Fair =» beauty
Fair sister
Falcon
Fall, used transitively
False gallop
Fancy «= love
Fancy, successive meanings of
Fantasy = fancy
Far = fur (?)
Fashion, pronunciation
Favour »» resemble . .
Fear they hope, &c.
Feature
Feeder -» servant
Feign
FcU
87
PAGB
402
414
210
108
97
61
271
49
134
139
100
13
"7
22
157
204
213
42
148
253
268
103
282
61
213
136
136
207
80
143
253
189
198
145
201
87
,258
58
91
238
266
180
93
184
140
PAOS
First-born of Egypt loo
Fleet 19
Retcher on Rosalind . . . . 4C>5
Flouting 248
Fly, kill a 2x9
Foggy South 204
Food, chewing the 240
Fool, costume of X04
Fool, not a term of reproach . . 71
Fond, derivation 77
For « because . . . . 147, 199
Forest of Arden x6
Forked heads 69
Formal cut 127
Foul 185
Frederick, confusion in names . . 28
Free 116
Freestone-coloured 235
Friends may meet, &c 156
Function 116
Fumivall on Date of Composition . . 304
** criticism on play . . . . 402
" on Jaques . . . . 415
Gamester 21
Gargantua i6x
Gentle 21
Gentleman, criticism on play . . 394
Gervinus 419
Gesture 257
Go = dress 161
God buy you 165
Goddild you . . . . 188, 271
Gods give us joy 186
Godwin on Costume 427
Goldsmiths' wives x66
Good wine needs no bush . . . . 285
Goths 182
Gracious 39
Graffe 146
Grape 249
Gravell'd 216
Ground 162
Guilded and gilt 242
Gundello 214
Halfpence 173
HaUfax gibbet 198
Hallani, criticism bj'
■ ■ 395
Incision
141
Halliwell, crilicisin by
.. 397
Incontinent
225
Handketiher
., 240
Ind, pronunciation
142
Hare, -with inlraoailivc verb«
.. 36
295
Have no beamy
. , 20Z
Infect
146
Having =<p[)^cGsioii. .
-. 174
Infinitive active used for infinitive
Harm
.. 142
passive
32
Hailitt, criticism by
■■ 394
Infinitive, indefinite use of . . 16, 2$g
" on Mo" ■ ■
.. 408
Ingram On verse tests
303
" on Touchstone . .
.. 418
Inhabited
•83
He used for Am . ..
Inland
"7
Heart, play on words
.. 163
In little
148
Heigh ho, pronunmUon ..
.. 132
Insinuate with
287
Hem. piny Ort words
.. SO
Instances
127
Hctaud, crilicismby
■ ■ 397
Into, accent on second syllable
87
Him used for ^ . . . .
Intransitive verbs with ie or Aavt . .
36
Hind
.. 10
Irish rat
>SS
Hire, thrifty
.. 81
Irish wolves
26a
Holla
.. 163
Irks
69
Holly
.. 13a
Irregular sequence of (enses
38
Holy bread
.. 191
It, Indefinite use of
59
Honesty
93. 27>
2a
Hooping
■ . 157
Horae-beasls
.. 186
Jameson, Mis, on Rosalind . .
404
Horns, Coleridge's note
.. 23>
1,70
Homwork
.. 18S
Jaques de Boys
8
Housewife, pronunciation . .
25
Jewell in toad's head
66
Hudson, criticism by
.. 398
Johnson, Dr, criticism by . .
394
" onjaques .. ..
.■ 415
Johnson's Lout in a Fortst
433
" on Rosalind
■ ■ 407
Jointure
2JS
Hugo, Fr. Victor, on Jaqnea
.. 413
J-'das
193
Humorous, meaning of
.. 46
Juno's swans
54
Humorous sadness .. ..
Jupiter or pulpiter
»S3
Hunter on the Text , .
'.'. 298
Justly - exactly
43
Huntress name
■ ■ 137
Hurtling
■• 243
Kellogg on Jaque,
4>S
Hyen
.. ai2
Kind-nature
337
Hysteron prot«ron ..
.. 198
Kind, some
78
Kindled
172
I and no
.. 161
Kisses ., ,. 19
,216
I used for m«
^.47
KnoU'd
119
lUfavouredly
-■ 25
Kreyssig
420
Imbossed, Fumivall's note . .
.. 114
Imperative mood in Stage -di
rec-
Lameness of Shakespeare, Erst sug-
(ions
40,236
gested
139
Impression
. . 20O
Leander
217
Inchbald, Mrs., criticism by
.■ 394
Leam-teach
^Z
Inch of delay . . . .
.. 158
172
INDEX
449
PAGE
PAOI
Leer . , . .
. . 216
Moralise
. .. 72
Lenox copy of F, . .
.. 299
Mortal in folly
.. 90
Lies, degrees of
. . 272
Mother
. . 201
Like to have
. . 270
Motley, costume of Fool .
104, I07
Like a please
. . 290
Much Orlando
. . 232
Lined— painted
. . 143
Mutton, a
. . 140
Li^
. . 213
Myself— by myself
. .. 165
Living humour
.. 177
Live i* th* sun
96
Names, classic use . .
. .. 95
Lloydy criticism by , .
•• 395
Napkin
. . 240
" on Jaques
. . 412
Native
.. 171
Look you — look for you
. .. 96
Natural — an idiot
.. 27
Loved not at first sight
. . 206
Natural =» lawful
20
Love in a Forest
•. 433
Naught a while
10
Lover, both masculine and f<
:minine 196
Needless, active and passive
.. 7a
Negative, double
. 24, 82, 85
Macdonald on Jaques
. . 416
Neil, criticism by
. . 401
Maginn on Jaques
.. 409
Nest
. . 225
Make
10
New Coiut
. .. 15
Make the doors
. . 222
New fangled
. . 221
Mannage
8
Nice, an object lesson
. . 211
Manners
.. 139
Noble goose
. . 196
Marlowe, the dead shepherd
. . 206
No did ; no hath ; no will .
. .. 56
Marlowe's saw of might
. . 300
Nuptial, singular and plural
I ..255
Marry
10
Nurture . . . .
.. 117
Martin, I^dy, criticism by .
. .. 398
" " her Rosalind
.. 427
Oak, G)leridge's note
.. 71
Material
. . 185
Oaths, Rosalind's
.. 234
Matter
.. 74
Observance
.. 259
Me a myself
•• 39
Occasion, her husband's
. . 223
Means
. . 116
Odds in the man
. .. 36
Measure, a dance
. . 270
Of=- about, concerning
.. 26
Medlar
. . 146
Of »=» in the act of
.. 88
Melancholy, Jaques's
. . 211
Of used for by
.. 72
Memorie » memorial
.. 77
Old Justice
. . 225
Merely -» purely
122, 176
Old smell — class
.. 32
Meres's list of pla3r8
. . Zo\
Omission of relative
34,95
Merry or wearie (?)
. .. 84
Omission of so before that .
•. 34
Mingled damask
. . 209
Omission of the preposition
54, 76, 135
Misconster
. .. 46
Omission of a and the
. . Ill
Misprised
22
Omission of plural or possess
wve J . . 76
Moberly, criticism by
. .. 398
Omission of verbs of motioi
1 . . 40
Modem
. . 127
Omittance is no quittance
.. 209
Modem censure
. . 210
Once, all at
. . 202
Moe
166, 249
Only, transposition of
•. 39
Monastic
.. 177
Open-field cultivation
. . 264
Moonish
. . 176
Or ... or . . •
. .. 45
Moral — moralise
29
.. 107
Ort- world (?)
. .. 105
450
INDEX
PAGE
Other, contracted \.q or . . 45
Ovid 182
Page, Rosalind as a . . 60
Pageant 197
Painted cloth 167
Pale 57
Palm tree 155
Pantaloon, CapelVs note . . . . 128
Parlous 140
Participle implied 135
Parts, better 43
Part with 161
Passion, pronunciation . . . . 91
Pathetical 224
Peascods in divination . . . . 89
Peevish 208
Penalty of Adam 61
Perpend 141
Persever 252
Phebe, pronunciation . . 233, 268
Phenix as a pliu^ 233
Phonetic spelling . . . . 153, 214
Place a mansion 80
Places «> subjects of discourse . . 108
Poetical 184
Point device 175
Pompous 283
Portugal, Bay of 225
Practise » plot 20
Practises » stratagems . . . . 80
Presence, play on word . . . . 33
Presentation 277
Presently — immediately . . . . 102
Prevent 215
Priest, girl goes faster than the . . 220
Princess calls 37
Priser . . . . . . . . 78
Prodigal portion 1 1
Proper names, German translation of 2
Pulpiter, Spedding's conj 153
Purchase 172
Purgation, legal use . . . . 53
Purlews 238
Pythagoras 155
Quail a to fail 77
Qualities — qualifications . . . . 14
PAGB
Quarrel in print 274
Question . . . . 130, 195
Questioning 280
Quintain 43
Quintessence 148
Quittance 209
Quip .. .. ..274
Quotidian 173
Rabelais 139, 161
Ragged = broken 95
Rank, play on words . . . . 32
Rank 143
Rascal 187
Raw 141
Reason, play on words . . . . 118
Reason of = discuss . . . . 26
Rebellious liquors . . . . 82
Reckoning 184
Religious 172
Remembered B remembering . . 134
Remorse 54
Removed 172
Render «a describe 243
Reputation, Hunter's note . . . . 126
Repetition of prepositions . . 117, 121
Respective construction . . . . 271
Reverence 12
Right X43
Ripe 106
Ripe sister 239
Roberts, James 296
Roof— house 79
Rosalind, Spanish origin of name . . 4
Rosalind, character of . . . . 22
Roynish 75
J, final, interpolated. Not the North-
em plural .. 3i» 37, 53, 73» 25i» 257
X, omitted in plurals and possessives 76
Sad brow, and true maid . . 160
Safest — surest 52
Sadness, humorous . . . . 212
Sale-work 204
Sand, George 421
Sans 107, 128
Satirical books, burning of . . . . 30
Sauce 206
V.
Saiiolo's Practise 274
Saw of migbt 206
Schlegel 4>S
School •• oniietsit]' . . . . 8
Seeming — Beeinlj 373
Si-ems, unusual use of . . . . 9
Seize, legHHerm 13S
Sequence of lenKS, inegular . . 38
Seven Ages .. .. 93,122
Shadow — shade 226
Shakespeare, the actor of Adam . . 129
Sball-must 19
She-woman 137
Shorter — lower stature . . . . 47
Should, use of .. .. 41,154
Shrewd 282
SiddoDs, Mn 426
Sight-shape (?) 279
Since that 207
Since, with the past for the present 30
Sir M a tide 3
Sirrah Z46
Skottowe OD Jaqnes . . . . 409
Smaller — lower stature . . . . 47
Smell — race, dacs , , , . 32
Smirch 58
Smother — smoke 48
Snake, a tame 237
So fond to 77
So — provided that 33
So when ai is omitted . . . . 54
So omitted before tial . , . . 34
Some, expressing qqantity , . . . 201
Some kind of men 78
South, foggy 204
South Sea of discovery , . , . 158
Speak sad brow 160
Spheres, music of 103
Spleen ■caprice 226
Sport, pronunciation of, by Celia . . 31
Squander E- scatter I13
Stage, all the world's a . . . . 121
fitafie-direciions, imperative mood
of 40, 235
Stage-letting of wrestling match . . 40
Stain, pair of 355
Stalking horse 276
Sinnzo 95
Stales — estates 283
Slay wait for 160
Stili constantly 4'
Strong used for strange . . . . 50
Subject, accent of 80
Sutli a*uc!dcn 50
b-udiJcnly immediately . . ■ ■ 77
Sufferance, consent and . . 75
Suit — dress 59, 109
Suits, out of 42
Sure 280
Swashing 59
Sweat S2
Swoon 245
Swore brothers 276
Swotmd, pronondatioa . . . . 199
Tale, thereby hangs a . . . . I07
Taxation 30
Ttiif .'s, irrcguljir sequence of . . 38
'I'li.il, oiij.iTitii.insI affix .. .. 52
Tbat-in that, for that, because, at
which time 156
Tliat, instead -of wAa . . . . 197
Thatched boose 183
The and /iy confounded . . . . 163
The, denoting notoriety . . . . 180
Their, used after JiiMf HnJ . . 78
There is, with the plural . . . . 32
Thinking, verhe of; followed by it 103
Thou . . . you . . 14, So, S3, 134
Thou and I am S*
Thought — melancholy .. 226
Thou Wert best 20
TlT^'ii.all 254
Ti.i-icfcmsvn«d queeo . . . . 137
Thiiflyliire Si
Tieck on Date of Composition . . 303
" on Jaques and Jonson III
Time's paces 170
To, omitted and Inserted . . . , 268
T.M.i .■mi.m.jjs 66
Toadstone 66
Tooth is not so keen . , , . 131
Touched — infected .. .. .. 172
Touche 153, 369
Touchstone 60
452
INDEX
PAOB
Toward 269
Transposition of only • . . . 39
Travers athwart 195
Trots hard 170
Trowell 31
Turn or tune 94
inrici 419
Unhanded 174
Unexpressive she 137
Ungartered 174
Unkind 131
Unquestionahle 174
Untuneahle => untimeable (?) . . 264
Up, intensive 74
Upon command 120
Uses of adversity, H. G>leridge's
note 65
Variations in different copies of
Folios . . . . 116, 185, 196, 271
Velvet — delicate 73
Vengeance <» mischief . . . . 236
Verbal nouns 233
Verbals, used colloquially . . . . 88
Villain 13
Virtuous =• gifted with virtues . . 55
Voice «= vote 92
Wag, transitive and intransitive . . 106
Walker's sense of rhythm . . . . 58
Waller's apology to Charles I . . 184
Ware 90
Warn «= warrant (?) 216
Warp 132
Waste — spend 93
Weak evils 120
Wear «= weary , 88
Wearie verie 115
Weary, derivation of . . . . 88
Week, too late a 83
Weeping tears 90
Well said -■ well done . . . . 102
Wert, thou wert best . . 20, 189
What though 187
PACK
What— why X95
Wheel of fortune . . .... 24
When — where 79
Where you are 254
Whether = wyi^'^ 55
Whetstone 27
Which, the 71
Which — which thing .. .. 156
Which, with repeated antecedent . . 34
Which, used adverbially . . . . 65
Whiles X20
Whip for Fools 30
Whit, not a ; redundant . . . . 140
White, R. G., on Costume . . . . 430
Whiter's theory 109
Who, omitted 91
Who, personifying irrational ante-
cedents 199, 242
Who — wA<7«i , , . . 169, 197
Will, double meaning . . . . 14
Wind — wend 190
Winter'd 145
Winter's sisterhood 194
Wiseman . . . wise men . . . . 30
Wish upon you 50
Wit whither wilt . . . . 27, 222
Witchcraft, Acts 3 Eliza. & I Jac. I 257
With — by means of 157
Withal as an adverb . . . . 20
Without candle go dark to bed . . 204
Women as actresses . . . . 288
World — age 48
World, to go to the — to be married 261
Worm's meat 14X
Would — will, wish 163
Wrastle, pronunciation . . . . 15
Wreakes, pronunciation . . . . 92
Wrestling match, stage-setting of . . 40
Year as a plural 256
Year, with a plural numeral . . 171
Yerewhile 208
You and ^'tfwr confounded . . . . 91
You . . . thou 14
Your eyes . . . your judgement . . 38
I