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SCOTT, FORESMAN AND COMPANY Ptoushbrs, 378-388 Wabash Avenue«..XJhica€# Gbe Xafte Cnalisb Classics EDITED BY LINDSAY TODD DAMON, A.B. Instructor in English in the University of Chicago £be Xafte jgngiieb Classics yd SHAKSPERE'S 63 (p I AS YOU LIKE IT EDITED FOE SCHOOL USE BY WILLIAM ALLAN NEILSON, M.A., Ph.D. harvard' university CHICAGO SCOTT, EORESMAN AND COMPANY 1903 THE LIBRARY OF CONGRESS. Two Copies Received JUL 25 903 Copyright ao« ; 3- CLASS a. Entry XXc No. 4 «r tf COPY B. 7/T.; COPYRIGHT, 1903 BY SCOTT, FORESMAN AND COMPANY BOUT. O. LAW CO., PRKTBRS AND BINDERS, OHICAGOl PKEFACE. The aim in the volumes of this series is to pre- sent a satisfactory text of each play, modernized in spelling and punctuation, with as full an equipment of explanation and comment as is necessary for thorough intelligibility. The first section of the introduction is intended to give the student an idea of the place of the play in the history of the English Drama in general and of Shakspere's development in particular. In the present volume a considerable amount of space in the second section has been devoted to the source of the play and to Shakspere's adaptation of it to his dramatic purposes. The mere state- ment of the name of the book from which the plot is drawn is of little significance unless the student is enabled to form some conception of the omissions, additions, and modifications to which the earlier work was subjected by the dramatist. An attempt has therefore been made to give a concise summary of those features in Lodge's novel of Rosalynde a comparison of which with the corresponding parts of As You Like It helps to throw light on Shakspere's aim and methods. The task of aesthetic inter- pretation has been for the most part left to the teacher, and the significance of the changes just 6 PREFACE. mentioned has been merely hinted at ; but it may be suggested here that few methods of enabling students to realize the greatness of Shakspere's achievement are so effective as that of a point by point comparison of the crude material with the finished masterpiece. In the present instance a group of somewhat conventional and artificial characters are transformed into living persons whose individual qualities of mind and tempera- ment we know as we know those of our personal friends ; by a series of subtle touches the scene gains a local color and the society an atmosphere as distinctive as they are delightful; and to a merely entertaining romance is added an under- current of philosophy and shrewd and humorous comment on human life as wise and wholesome as it is unobtrusive. Complete texts of Lodge's Rosalynde may be found in Hazlitt's Shakspeare^s Library, volume II, in Dr. Furness's Variorum edition of As You Like It, in a recent edition in Newnes's Caxton Series, and in inexpensive form in Cassell's National Library. For further details on the life and works of Shakspere the following books may be referred to: Dowden's Shakspere Primer and Shak- spere, His Mind and Art; Sidney Lee's Life of William Shakespeare; Barrett Wendell's William Shakspere; and Shakspere and His Predecessors, by F. S. Boas. The most exhaustive account of PREFACE. V the English Drama is A. W. Ward's History of English Dramatic Literature. Both this work and that of Sidney Lee are rich in bibliographical information. For questions of language and grammar, see A. Schmidt's Shakespeare Lexicon; J. Bartlett's Concordance to Shakespeare; Little- dale's new edition of Dyce's Glossary to Shake- speare (New York, 1902) ; and E. A. Abbott's Shakespearian Grammar. For general questions of dramatic construction see Gustav Erey tag's Technik des Dramas, translated into English by E. J. MacEwan; and Dr. Elisabeth Woodbridge's The Drama, its Law and its Technique. Hakvakd Univeksity, March, 1903. CONTENTS. PAGE Preface 5 Introduction I. Sliakspere and the English Drama . . 11 II. As You Like It , . . . . . 29 Text . 45 Totes 164 Word Index .201 INTRODUCTION. I. SHAKSPEKE AND THE ENGLISH DRAMA. The wonderful rapidity of the development of the English drama in the last quarter of the six- teenth century stands in striking contrast to the slowness of its growth before that period. The religious drama, out of which the modern dramatic forms were to spring, had dragged through centu- ries with comparatively little change, and was still alive when, in 1576, the first theatre was built in London. By 1600 Shakspere had written more than half his plays and stood completely master of the art which he brought to a pitch unsurpassed in any age. Much of this extraordinary later progress was due to contemporary causes; but there entered into it also certain other elements which can be understood only in the light of the attempts that had been made in the three or four preceding centuries. In England, as in Greece, the drama sprang from religious ceremonial. The Mass, the centre of The Drama ^ ne P 1ID ^ C worship of the Koman before church, contained dramatic mate- shakspei ^..^ ^ ^ e gestures of the offici- ating priests, in the narratives contained in the Lessons, and in the responsive singing and chant- 11 12 INTRODUCTION. ing„ Latin, the language in which the services were conducted, was unintelligible to the mass of the people, and as early as the fifth century the clergy had begun to use such devices as tableaux vivants of scenes like the marriage in Cana and the Adoration of the Magi to make comprehen- sible important events in Bible history. Later, the Easter services were illuminated by repre- sentations of the scene at the sepulchre on the morning of the Eesurrection, in which a wooden, and afterwards a stone, structure was used for the tomb itself, and the dialogue was chanted by differ- ent speakers representing respectively the angel, the disciples, and the women. From such begin- nings as this there gradually evolved the earliest forms of the Mieacle Play. As the presentations became more elaborate, the place of performance was moved first to the churchyard, then to the fields, and finally to the streets and open spaces of the towns . With this change of locality went a change in the language and in the actors, and an extension of the field from which the subjects were chosen. Latin gave way to the vernacular, and the priests to laymen ; and miracle plays representing the lives of patron saints were given by schools, trade gilds, and other lay institutions. A further development appeared when, instead of single plays, whole series such as the extant York, Chester, and Coventry cycles were given, dealing in chrono- SHAKSPERE AND ENGLISH DRAMA. 13 logical order with the most important events in Bible history from the Creation to the Day of Judgment. The stage used for the miracle play as thus developed was a platform mounted on wheels, which was moved from space to space through the streets. Each trade undertook one or more plays, and, when possible, these were allotted with reference to the nature of the particular trade. Thus the play representing the visit of the Magi bearing gifts to the infant Christ was given to the goldsmiths, and the Building of the Ark to the carpenters. The costumes were conventional and frequently grotesque. Judas always wore red hair and a red beard ; Herod appeared as a fierce Saracen ; the devil had a terrifying mask and a tail ; and divine personages wore gilt hair. Meanwhile the attitude of the church towards these performances had changed. Priests were forbidden to take part in them, and as early as the fourteenth century we find sermons directed against them. The secular management had a more important result in the introduction of comic elements. Figures such as Noah's wife and Herod became frankly farcical, and whole episodes drawn from contemporary life and full of local color were invented, in which the original aim of edification was displaced by an explicit attempt at pure entertainment. Most of these features were characteristic of the religious drama in gen- 14 INTRODUCTION. eral throughout Western Europe. But the local and contemporary elements naturally tended to become national ; and in England we find in these humorous episodes the beginnings of native comedy. Long before the miracle plays had reached their height, the next stage in the development of the drama had begum Even in very early performances there had appeared, among the dramatis personae drawn from the Scriptures, personifications of abstract qualities such as Righteousness, Peace, Mercy, and Truth. In the fifteenth century this allegorical tendency, which was prevalent also in the non-dramatic literature of the age, resulted in the rise of another kind of play, the Morality, in which all the characters were personifications, and in which the aim, at first the teaching of moral lessons, later became frequently satirical. Thus the most powerful of all the Moralities, Sir David Lindesay's Satire of the Three Estates, is a direct attack upon the corruption in the church just before the Reformation. The advance implied in the Morality consisted not so much in any increase in the vitality of the characters or in the interest of the plot (in both of which, indeed, there was usually a falling off), as in the fact that in it the drama had freed itself from the bondage of having to choose its subject matter from one set of sources — the Bible, the Apocrypha, and the Lives of the Saints. SHAKSPERE AND ENGLISH DRAMA. 15 This freedom was shared by the Interlude, a form not always to be distinguished from the Morality, but one in which the tendency was to substitute for personified abstractions actual social types such as the Priest, the Pardoner, or the Palmer. A feature of both forms was the Vice, a humorous character who appeared under the various disguises of Hypocrisy, Fraud, and the like, and whose function it was to make fun, chiefly at the expense of the Devil. The Vice is historically important as having bequeathed some of his characteristics to the Fool of the later drama. John Heywood, the most important writer of Interludes, lived well into the reign of Elizabeth, and even the miracle play persisted into the reign of her successor in the seventeenth cen- tury. But long before it finally disappeared it had become a mere medieval survival. A new England had meantime come into being and new forces were at work, manifesting themselves in a dramatic literature infinitely beyond anything even suggested by the crude forms which have been described. The great European intellectual movement known as the Renaissance had at last reached England, and it brought with it materials for an unparalleled advance in all the living forms of literature. Italy and the classics, especially, supplied literary models and material. Not only 16 INTRODUCTION. were translations from these sources abundant, but Italian players visited England, and per- formed before Queen Elizabeth. France and Spain, as well as Italy, flooded the literary mar- ket with collections of tales, from which, both in the original languages and in such translations as are found in Paynter's Palace of Pleasure (pub- lished 1566-67), the dramatists drew materials for their plots. These literary conditions, however, did not do much beyond offering a means of expression. For a movement so magnificent in scale as that which produced the Elizabethan Drama, some- thing is needed besides models and material. In the present instance this something is to be found in the state of exaltation which characterized the spirit of the English people in the days of Queen Elizabeth. Politically, the nation was at last one after the protracted divisions of the Reformation, and its pride was stimulated by its success in the fight with Spain. Intellectually, it was sharing with the rest of Europe the exhilaration of the Eenaissance. New lines of action in all parts of the world, new lines of thought in all depart- ments of scholarship and speculation, were open- ing up ; and the whole land was throbbing with life. In its very beginnings the new movement in Eng- land showed signs of that combination of native tradition and foreign influence which was to char- SHAKSPERE AND ENGLISH DRAMA. 17 acterize it throughout. The first regular English comedy, Udall's Ralph Roister Doister was an adaptation of the plot of the Miles Gloriosus of Plautus to contemporary English life. After a short period of experiment by amateurs working chiefly under the influence of Seneca, we come on a band of professional playwrights who not only prepared the way for Shakspere, but in some instances produced works of great intrinsic worth. The mythological dramas of Lyly with the bright repartee of their prose dialogue and the music of their occasional lyrics, the interesting experiments of Greene and Peele, and the horrors of the tragedy of Kyd, are all full of suggestions of what was to come. But by far the greatest of Shaks- pere 's forerunners was Christopher Marlowe, who not only has the credit of fixing blank verse as the future poetic medium for English tragedy, but who in his plays from Tamlurlaine to Edivard II. contributed to the list of the great permanent masterpieces of the English drama. It was in the professional society of these men that Shakspere found himself when he came to London. Born in the provincial Early ifife. S town of Stratford-on-Avon in the heart of England, he was bap- tized on April 26, 1564 (May 6th, according to our reckoning). The exact day of his birth *s unknown. His father was John Shakspere, a fairly prosperous tradesman, who may be supposed. 18 INTEODUCTION. to have followed the custom of his class in edu- cating his son. If this were so, William would be sent to the Grammar School, already able to read, when he was seven, and there he would be set to work on Latin Grammar, followed by read- ing, up to the fourth year, in Cato's Maxims, Aesop's Fables, and parts of Ovid, Cicero, and the medieval poet Mantuanus. If he continued through the fifth and sixth years, he would read parts of Vergil, Horace, Terence, Plautus, and the Satirists. Greek was not usually taught in the Grammar Schools. Whether he went through this course or not we have no means of knowing, except the evidence afforded by the use of the classics in his works, and the famous dictum of his friend, Ben Jonson, that he had " small Latin and less Greek." What we are sura of is that he was a boy with remarkable acuteness of observation, who used his chances for picking up facts of all kinds; for only thus could he have accumulated the fund of information which he put to such a variety of uses in his writings. Throughout the poet's boyhood the fortunes of John Shakspere kept improving until he reached the position of High Bailiff or Mayor of Stratford. When William was about thirteen, however, his father began to meet with, reverses, and these are conjectured to have led to the boy's being taken from school early and set to work. What business he was taught we do not know, and indeed we SHAKSPEEE AND ENGLISH DRAMA. ,19 have little more information about him till the date of his marriage in November, 1582, to Anne Hathaway, a woman from a neighboring village, who was seven years his senior. Concerning his occupations in the years immediately preceding and succeeding his marriage several traditions have come down, — of his having been apprenticed as a butcher, of his having taken part in poaching expeditions, and the like — but none of these is based upon sufficient evidence. About 1585 he left Stratford, and probably by the next year he had found his way to London. How soon and in what capacity he first became attached to the theatres we are again unable to say, but by 1592 he had certainly been engaged in theatrical affairs long enough to give some occasion for the jealous outburst of a rival play- wright, Robert Greene, who, in a pamphlet posthumously published in that year, accused him of plagiarism. Henry Chettle, the editor of Greene's pamphlet, shortly after apologized for his connection with the charge, and bore witness to Shakspere's honorable reputation as a man and to his skill both as an actor and a dramatist. Robert Greene, who thus supplies us with the earliest extant indications of his rival's presence in London, was in many ways a typical figure among the playwrights with whom Shakspere worked during this early period. A member of both universities, Greene came to the metropolis while 20 INTRODUCTION. yet a young man, and there led a life of the most diversified literary activity, varied with bouts of the wildest debauchery. He was a writer of satirical and controversial pamphlets, of romantic tales, of elegiac, pastoral, and lyric poetry, a translator, a dramatist, — in fact, a literary jack- of-all-trades. The society in which he lived con- sisted in part of "University Wits" like himself, in part of the low men and women who haunted the vile taverns of the slums to prey upon such as he. "A world of blackguardism dashed with genius," it has been called, and the phrase is fit enough. Among such surroundings Greene lived, and among them he died, bankrupt in body and estate, the victim of his own ill-governed passions. In conjunction with such men as this Shakspere began his life-work. His first dramatic efforts were made in revising the plays of his predeces- sors with a view to their revival on the stage ; and in Titus Andronicus and the first part of Henry VI. we have examples of this kind of work. The next step was probably the production of plays in collaboration with other writers, and to this practice, which he almost abandoned in the middle of his career, he seems to have returned in his later years in such plays as Pericles, Henry VIII. , and The Two Noble Kinsmen. How far Shakspere was of this dissolute set to which his fellow-workers belonged it is impossible to tell; but we know that by and by, as he gained mastery SHAKSPERE AND ENGLISH DRAMA. 21 over his art and became more and more independ- ent in work and in fortune, he left this sordid life behind him, and aimed at the establishment of a family. In half a dozen years from the time of Greene's attack, he had reached the top of his profession, was a sharer in the profits of his theatre, and had invested his savings in land and houses in his native town. The youth who ten years before had left Stratford poor and burdened with a wife and three children, had now become "William Shakspere, Gentleman." During these years Shakspere's literary work was not confined to the drama, which, indeed, was then hardly regarded as a form of literature. In 1593 he published Venus and Adonis, and in 1594, Lucrece, two poems belonging to a class of highly wrought versions of classical legends which was then fashionable, and of which Marlowe's Hero and Leander is the other most famous ex- ample. For several years, too, in the last decade of the sixteenth century and the first few years of the seventeenth, he was composing a series of sonnets on love and friendship, in this, too, following a literary fashion of the time. Yet these give us more in the way of self -revelation than anything else he has left. From them we seem to be able to catch glimpses of his attitude towards his profession, and one of them makes us realize so vividly his perception of the tragic risks of his surroundings that it is set down here : 22 INTRODUCTION. O, for my sake do you with Fortune chide, The guilty goddess of my harmful deeds, That did not better for my life provide Than public means which public manners breeds. Thence comes it that my name receives a brand, And almost thence my nature is subdued To what it works in, like the dyer's hand: Pity me then and wish I were renewed; Whilst, like a willing patient, I will drink Potions of eisel 'gainst my strong infection; No bitterness that I will bitter think, Nor double penance to correct correction. Pity me then, dear friend, and I assure ye Even that your pity is enough to cure me. It does not seem possible to avoid the inferences lying on the surface in this poem ; but whatever confessions it may imply, it serves, too, to give us the assurance that Shakspere did not easily and blindly yield to the temptations that surrounded the life of the theatre of his time. For the theatre of Shakspere's day was no very reputable affair. Externally it appears to us now The Eliza. a ver y mea g Te apparatus — almost foetkan absurdly so, when we reflect on the grandeur of the compositions for which it gave occasion. A roughly circular wooden building, with a roof over the stage and over the galleries, but with the pit often open to the wind and weather, having very little scenery and practically no attempt at the achievement of stage-illusion, — such was the scene of the production of some of the greatest SHAKSPERE AND ENGLISH DRAMA. 23 imaginative works the world has seen. Nor was the audience very choice. The more respectable citizens of Puritan tendencies frowned on the theatre to such an extent that it was found advis- able to place the buildings outside the city limits, and beyond the jurisdiction of the city fathers. The pit was thronged with a motley crowd of petty tradesfolk and the dregs of the town ; the gallants of the time sat on stools on the stage, " drinking" tobacco and chaffing the actors, their efforts divided between displaying their wit and their clothes. The actors were all male, the women's parts being taken by boys whose voices were not yet broken. The costumes, frequently the cast-off clothing of the gallants, were often gorgeous, but seldom appropriate. Thus the suc- cess of the performance had to depend upon the excellence of the piece, the merit of the acting, and the readiness of appreciation of the audience. This last point, however, was more to be relied upon than a modern student might imagine. Despite their dubious respectability, the Eliza- bethan play-goers must have been of wonderfully keen intellectual susceptibilities. For clever feats in the manipulation of language, for puns, happy alliterations, delicate melody such as we find in the lyrics of the times, for the thunder of the pentameter as it rolls through the tragedies of Marlowe, they had a practiced taste. Qualities which we now expect to appeal chiefly to the 24 INTRODUCTION. closet student were keenly relished by men who could neither read nor write, and who at the same time enjoyed jokes which would be too broad, and stage massacres which would be too bloody, for a modern audience of sensibilities much less acute in these other directions. In it all we see how far-reaching was the wonderful vitality of the time. This audience Shakspere knew thoroughly, and in his writing he showed himself always, with sixakspere's whatever growth in permanent ar- ©ramatic tistic qualities, the clever man of Development. businegs with } lis eye on the mar- ket. Thus we can trace throughout the course of his production two main lines : one indicative of the changes of theatrical fashions ; one, more subtle and more liable to misinterpretation, show- ing the progress of his own spiritual growth. The chronology of Shakspere's plays will prob- ably never be made out with complete assurance, but already much has been ascertained (1) from external evidence such as dates of acting or pub- lication, and allusions in other works, and (2) from internal evidence such as references to books or events of known date, and considerations of metre and language. The following arrangement represents what is probably an approximately correct view of the chronological sequence of his works, though scholars are far from being agreed upon many of the details. SHAKSPERE AND ENGLISH DRAMA. 25 OS § © © 03 cS d 2 « £ s P3H gt-iM c~ hP3P3 ©> C5 S \ c8 Sh -M C3 & 2 o © \ So 03 C^«M c3 d ^ © o . d ►^d£ as ©^ bo o o ^ •3.2 "S 'J © 03^ h3 ° d o 3h o £ o JEhO o.S ^81 ©.^22^ d^ [>g C« (D O OM-P © ©^^ > o -^ £ <1 d 1 J d .3 g»*d5o^© ©.d^3 3 © d ^ £ e3 © ® © - v © CO ^ d d -d & o o o o tD CD «5 O r> co o o o o ©to© ©H 3 .S S 26 INTRODUCTION. The first of these groups contains three comedies of a distinctly experimental character, and a number of chronicle-histories, some of which, like the three parts of Henry VI., were almost cer- tainly written in collaboration with other play- wrights. The comedies are light, full of ingen- ious plays on words, and the verse is often rhymed. The first of them, at least, shows the influence of Lyly. The histories also betray a considerable delight in language for its own sake, and the Marlowesque blank verse, at its best eloquent and highly poetical, not infrequently becomes ranting, while the pause at the end of each line tends to become monotonous. No copy of Borneo and Juliet in its earliest form is known to be in existence, and the extent of Shakspere's share in Titus Andronicus is still debated. The second period contains a group of comedies marked by brilliance in the dialogue ; wholesome- ness, capacity, and high spirits in the main char- acters, and a pervading feeling of good-humor. The histories contain a larger comic element than in the first period, and are no longer suggestive of Marlowe. Ehymes have become less frequent, and the blank verse has freed itself from the bondage of the end-stopped line. The plays of the third period are tragedies, or comedies with a prevailing tragic tone. Shaks- pere here turned his attention to those elements in life- which produce perplexity and disaster, and SHAKSPERE AND ENGLISH DRAMA. 27 in this series of masterpieces we have his most magnificent achievement. His power of perfect adaptation of language to thonght and feeling had now reached its height, and his verse had become thoroughly flexible without having lost strength. In the fourth period Shakspere returned to comedy. These plays, written during his last years in London, are again romantic in subject and treatment, and technically seem to show the influence of the earlier successes of Beaumont and Fletcher. But in place of the high spirits which characterized the comedies of the earlier periods we have a placid optimism, and a recurrence of situations which are more ingenious than plausi- ble, and which are marked externally by reunions and reconciliations and internally by repentance and forgiveness. The verse is singularly sweet and highly poetical 5 and the departure from the end-stopped line has now gone so far that we see clearly the beginnings of that tendency which went to such an extreme in some of Shakspere's successors that it at times became hard to dis- tinguish the metre at all. In Two Noble Kinsmen and Henry VIII, Shakspere again worked in partnership, the col- laborator being, in all probability, John Fletcher. Nothing that we know of Shakspere's life from external sources justifies us in saying, as has frequently been said, that the changes of mood in 28 INTRODUCTION. his work from period to period corresponded to changes in the man Shakspere. As an artist he certainly seems to have viewed life now in this light, now in that; but it is worth noting that the period of his gloomiest plays coincides with the period of his greatest worldly prosperity. It has already been hinted, too, that much of his change of manner and subject was dictated by the vari- ations of theatrical fashion and the example of successful contemporaries'. Throughout nearly the whole of these marvel - ously fertile years Shakspere seems to have stayed in London; but from 1610 to 1612 Lasf Tears? ne was ma king Stratford more and more his place of abode, and at the same time he was beginning to write less. After 1611 he wrote only in collaboration; and having spent about five years in peaceful retirement in the town from which he had set out a penniless youth, and to which he returned a man of reputa- tion and fortune, he died on April 23, 1616. His only son, Hamnet, having died in boyhood, of his immediate family there survived him his wife and his two daughters, Susanna and Judith, both of whom were well married. He lies buried in the parish church of Stratford. AS YOU LIKE IT. 29 II. AS YOU LIKE IT. The earliest reference to the comedy of As You Like It is found in an entry in the Stationers' Eeg- ister, under the date of August 4, 1600. How much earlier the play was com- posed is uncertain, but no modern critic of author- ity places it earlier than 1598. The reference in III. v. 81-82 to Marlowe's Hero and Leander (pub- lished in 1598) may be taken as fixing the earlier limit, unless we suppose, as there is no need to do in this case, that Shakspere knew the poem in manuscript. The evidence from metre, too, indi- cates 1599-1600 as a probable date, and, with slight variations, there is a general agreement in this. The play thus appears at the climax of Shak- spere's achievement as a comic dramatist, and belongs, with Much Ado about Nothing and Twelfth Night, to the group of comedies charac- terized by a cheerful optimism not untinged with a sense of the more serious elements in life, by a satisfactory wholesomeness in the heroes and heroines, by sparkling dialogue, and by complete mastery of a flexible and melodious blank verse. Although the play was entered in the registers of the Stationers' Company in 1600, it does not seem to have been published till Hem- source of inge and Oondell issued the first col- the text. ° lected edition of Shakspere's works in the Folio of 1623. From this edition the present 30 INTRODUCTION. text is taken, with a few modifications drawn chiefly from the later Folios and the emendations of modern editors. "Stories which relate the fate of a younger brother who is deprived of his inheritance by the jealousy of a senior brother, and who t£e r pfot f nevertheless achieves great prosperity, are as old as the time of Joseph." 1 To this class belongs an anonymous Middle English poem, found in several MSS. of Chaucer's Canterbury Tales, into which it has been inserted with the title, TJie Coke's Tale of Gamely n. The poem is not by Chaucer, and has no real relation to his fragmentary Cook's Tale. On the basis of this tale, Thomas Lodge, an Elizabethan writer, composed a novel called Rosalynde, Euphues' Golden Legacie; and this novel in turn Shakspere dramatized in As You Like It. It does not appear that Shakspere knew The Tale of Gamely n. Lodge's novel is an admirable example of two of the most fashionable literary tendencies of the end of the sixteenth century : it is a pastoral in form, and it is euphuistic in style. The tradition of the pastoral had begun in classical times with the Idylls of Theocritus, had been carried on by Vergil, and, in the period of the Eenaissance, had been revived with many modifications in Italy. From Italy it had spread 1 Skeat : Introduction to The Tale of Gamelyn, Oxford, 1890, p. 1. AS YOU LIKE IT. 31 to other countries, and in England it had affected yarious forms of literature, especially the lyric, the drama,, and the prose romance. Before the date of Lodge's book, the most notable products of this impulse had been Edmund Spenser's Shep- heardes Calender and Sir Philip Sidney's Arcadia. Originally, the pastoral had represented the life of real shepherds ; but in the course of time it had come to be an almost purely artificial form, in which the scene was laid in an imaginary Arcadia, where the supposed shepherds wandered through woods and fields, making love, composing songs, and playing on oaten pipes. The introduc- tion of courtiers living a rustic life, and the mingling of foresters and people of other rural occupations with shepherds proper, were already familiar before they appeared in Lodge's novel. The style of Rosalynde is called euphuistic because it follows the fashion set in 1579 by John Lyly in his romance of Euphues. Its character- istic qualities are excessive alliteration and antithesis, and the abundant use of classical illustrations and of similes drawn from mythical natural history. The following passage illus- trates Lodge's manner of describing a typical pastoral situation in euphuistic language : The ground where they sat was diapered with Flora's riches, as if she meant to wrap Tellus in the glory of her vestments .... Fast by (to make the place more gorgeous) was there a fount so crystalline and 32 INTRODUCTION. clear, that it seemed Diana with her Dryads and Hama- dryads had that spring as the secret of all their bath- ings. In this glorious arbour sat these two shepherds (seeing their sheep feed) playing on their pipes many pleasant tunes, and from music and melody falling into much amorous chat. Drawing more nigh we might descry the countenance of the one to be full of sorrow, his face to be the very portraiture of discontent, and his eyes full of woes, that living he seemed to die. In turning Rosalynde into a play, Shakspere dropped entirely the euphuism, but retained many pastoral characteristics. In retaining these, he was following not only his source, but the exam- ple of other dramatists who had scored successes with pastorals on the stage. The more conven- tional pastoral features to be detected in As You Like It are these: the shepherds and foresters, both those who are actual rustics and those who are courtiers living in retirement; the love-sick shepherd and obdurate shepherdess, of whom Phebe and Sylvius are thoroughly typical ; the girl in the dress of a page ; the hanging or carving of _ verses on trees; the hunting scene and song; the figure of Hymen ; and the suggested landscape of woodland, sheep-cote, and pasture. A further contemporary influence on Shak- spere' s treatment of the story may be found in a number of plays dealing with the life and adven- tures of Robin Hood. 1 A forest life, such as that 1 Such are The Downfall of Robert, Earl of Hunt- ington, by Anthony Munday, and TJie Death of Robert, AS YOU LIKE IT. 33 of the banished Duke (which is mentioned but not described by Lodge), and even his cheerful attitude towards adversity, had been features of such plays. Thus to the spectators who first saw As You Like It acted, the comedy must have appeared not merely as the dramatization of a popular novel, but also as a particularly charming combination of types of drama of which they had already shown their appreciation. But in transforming Rosalynde into As You Like It, Shakspere left out much besides the euphuism, and added much besides the Eobin Hood element. A complete understanding of the nature and extent of his omissions and additions can be got only by a close comparison of the play and the novel, scene by scene. But something of his method may be gathered from the following summary of the most significant changes : 1. The length of time covered by the action is much shorter in the play than in the novel. Lodge begins with the death -bed of Sir John of Bourdeaux (= Sir Eoland de Boys), while Shak- spere summarizes in Orlando's opening speech all the story previous to the quarrel between Oliver and Orlando. Lodge indicates long intervals between the quarrel and the wrestling, and between the wrestling and Orlando's setting out, Earl of Huntington, by Anthony Munday and Henry Chettle, reprinted in Hazlitt's edition of Dodsley's Old English Plays, Vol. VIII, London, 1874. 34 INTRODUCTION. while Shakspere makes them follow in rapid suc- cession. Besides increasing the rapidity of the action, this change avoids having Orlando hear of Eosalind's banishment, and yet stay at home in unloverlike fashion. Compression of the ear- lier events is again aided by narrating instead of representing the wrestling of the old man's sons. 2. Shakspere omits a whole series of tumultuous incidents occurring after Eosader's (= Orlando's) victory, when, with a band of companions, he breaks into Saladyne's (= Oliver's) castle, and banquets at his brother's expense. A peace is patched up between the brothers by old Adam, but later Saladyne takes Eosader asleep, binds him to a post, and denies him food and drink. Aclam releases him, and together they drive out Saladyne and his friends, who return with the sheriff and twenty-five men. Eosader and Adam break through and escape to the Forest of Arden. The omission of all this rowdyism increases the refinement of Shakspere's Orlando, and makes the love plot more prominent. 3. In Lodge, Torismond ( = Duke Frederick) throws Saladyne into prison, professedly for the wrongs he had done to Eosader and because by his means the king had lost "a most brave and resolute chevalier." Saladyne's meditations in prison bring about his change of heart. Later he is banished, that Torismond may seize his AS YOU LIKE IT. 35 estates. Shakspere saves time by banishing Oliver at once, and makes his conversion the result of Orlando's magnanimity. 4. In the novel, a band of rascals attempt to kidnap Alinda. Eosader attempts a rescue, but is being worsted when Saladyne comes to his assist- ance and drives off the assailants. Eosader is wounded in the scuffle. This episode brings about the meeting of Saladyne and Alinda, which in the play :s contrived by making Oliver bring news of Orlando's wound from the lioness, an incident which Shakspere invented. The wooing of Alinda is told in detail in the novel ; in the play it is only reported. Condensation is here again the main object of the changes. 5. Immediately after the weddings in Lodge's book, Fernandyne ( = Jaques de Boys) brings news that the twelve peers of France are up in arms on behalf of Gerisrnond ( = Duke Senior). The Duke, Saladyne, and Eosader take horses and armor, and arrive at the scene of conflict in time to turn the tide of battle. Torismond is overthrown and slain. Shakspere 's milder device of the conversion of Frederick, however uncon- vincing, suits better the mood of reconciliation and forgiveness which dominates the play. 6. The novel contains these somewhat sordid elements, which are not in the play: (a) At the outset Eosalynde attempts to control her love by consideration of Eosader's poverty; (b) Sala- 36 INTRODUCTION. dyne's action towards Rosader is due to covetous- ness of the larger share which the younger had received from his father, while in the play Orlando gets only a small legacy and is envied by his brother for his popular qualities; (c) Rosader hesitates to save his brother from the lioness, not from a natural impulse towards revenge, but from a calculation that Saladyne's fortune might possibly aid him in winning Rosalynde ; (d) at the close, Saladyne is "in a dumpe" at his brother's lucky match with the King's ( = Duke's) daughter, until he finds out the rank of Alinda. 7. The characters throughout are much more vividly realized in the play, and many minor changes are made, some of which are remarked in the notes. Thus, in Lodge, Rosalynde is comparatively lacking in humor, overshadows Alinda ( = Celia) less than in the play, and is less severe on Phoebe. Rosader, after the wrestling, is sufficiently self-controlled to compose a sonnet to Rosalynde, while in the play he is dumb with embarrassment ; and in the scene with Adam in the forest it is he who in despair is comforted by Adam, instead of. the reverse. In the novel, Phoebe refuses Montanus ( = Silvius) because she has a theoretical scorn of love, falls ill from her passion for Ganymede, and when the seeming page visits her, confesses the cause of her sick- ness. The self-abnegation of Montanus is exag- gerated by making him willing to have Ganymede AS YOU LIKE IT. 37 marry Phoebe to save her life, and by making him aware of the tenor of the letter he carries to Gany- mede from his mistress. He is also endowed with the conventional pastoral accomplishments of com- posing sonnets and the like, and so removed farther than in Shakspere from the natural shepherd. 8. The characters of Jaques, Touchstone, Audrey, William, Dennis, Le Beau, Amiens, the first Lord, and Sir Oliver Martext, are all added by Shakspere, and also, of course, the parts of the action in which they are prominent. It is to be noticed that, with the exception of the farce of Touchstone and Audrey, the plot itself is not affected by these additions. Much, however, of the distinctive atmosphere of the play, much of its philosophy, its humor, its lyric beauty, and its suggested landscape, result from the utterances of these invented characters. More than half of the present play is written in prose, and it is important to observe the principles on which Shakspere here bases his lYAGirG* i « /a choice of prose or verse as a medium of expression. As a rule, verse is used by men of high rank, such as the dukes and lords; prose by women, servants, and fools. Verse is used in situations where the feeling is elevated or intense, in highly imaginative or sententious passages, in conventional scenes such as the pastoral dialogues of Phebe and Silvius ; prose in farce, repartee, and commonplace conversation. 38 INTRODUCTION. The verse used, except in the songs, is the blank verse which for a dozen years had been the standard metre of the Elizabethan drama. The normal type has five iambic feet, that is, ten syl- lables with the stress falling on the even syllables. From this regular form, however, Shakspere deviates with great freedom, the commonest variations being the following : 1. The addition of an extra syllable, usually before a pause, and so most frequently, though not always, at the end of a line; e.g. : Which when | it bites | and blows | upon ] my bo ] dy, II. i. 8. That can | translate | the stub | bornness | of for | tune, II. i. 19. And faints | for sue | cour. | Fair sir, | I pi | ty her | , II. iv. 77. 2. Frequently what seems an extra syllable is to be slurred in reading; e.g. : I would | thou hadst told | me of I ano | ther fa | ther, I. ii. 250, where "thou hadst" is to be pronounced "thou'dst." Than a | ny of | her lin \ eaments ] can show | her, III. v. 56, where "lineaments" is trisyllabic. In some lines it is doubtful whether a syllable is to be slurred or read as a light extra syllable; e.g. : Jealous | in ho | nour, sud \ den, and quick | in quar | rel, II. vii. 151, AS YOU LIKE IT. 39 where, with the punctuation in the text, the second syllable of "sudden" is additional, but, without the comma, it is to be read "sudd'- nand." 3. Sometimes an emphatic syllable stands alone as a foot, the unaccented syllable being omitted; e.g.: Peace, | I say. | Good e | ven'to | you, friend, f II. iv. 71. Bring | us to | this sight, | and you | shall say, | III. iv. 60. 4. Short lines, lacking one or more feet, occur; e.g.: Thou hast not loved, II. iv. 36. Why, who cries out on pride, II. vii. 70. 5. Long lines of six feet are not uncommon; e.g.: I see | no more | in you | than in | the or | dinary, | III. v. 42. You fool | ish shep | herd, where ] fore do | you fol | low her, | III. v. 49. Usually in such lines some words bearing the metrical accent are quite unemphatic as read, and many Alexandrines, as iambic hexameters are called, may be read so as to give the impression of normal length; e.g. : Of smooth civility. Yet am I inland bred, II. vii. 96. In bitterness. The common executioner, III. v. 3. 6. Frequently, especially in the first foot, a trochee is substituted for an iambus, i.e., the 40 INTRODUCTION. accent falls on the odd instead of on the even syllable; e.g. : t Sweet are | the uses of adversity, II. 1. 12. i Such Ethiop words, | blacker | in their effect, IV. iii. 36. 7. It must be remembered, however, that some words have been altered in pronunciation since Shakspere's time. Thus the accent is changed in exile, II. i. 1, exiled, V. iv. 175, confines, II. i. 24, antique, II. iii. 57, quintessence, III. ii. 142, aspect, IV, iii. 54, com/pact, V. iv. 5; though Shakspere has elsewhere, in many of these words, the modern accentuation also. Again, condit-i-on, I. ii. 284, intermiss-i-on, II. vii. 32, observat-i-on, II. vii. 41, reputat-i-on, II. vii. 152, act-i-on, IV. iii. 10, pat-i-ence, I. iii. 79, all have the termina- tion dissyllabic. 8. Occasional rhymes occur. These are found chiefly at the end of scenes or of speeches of some length, or in utterances more or less proverbial in character; e.g.: I. ii., I. iii., II. iii., II. iv., II. vii., III. iv., V. iv. , all end in rhyming coup- lets, and II. iii. 67-68, III. v. 78-79, V. iv. 186-189, 202-203, are rhyming lines giving point to the close of speeches. Although differences between the language of Shakspere and that of our own day are obvious to the most casual reader, there is a risk that the student may underestimate the extent of these AS YOU LIKE IT. 41 differences, and, assuming that similarity of form implies identity of meaning, miss the true inter- pretation. The most important in- Language. x » • stances 01 change 01 meaning are explained in the notes; but a clearer view of the nature and extent of the contrast between the language of As You Like It and modern English will be gained by a classification of the most fre- quent features of this contrast. Some of the Shaksperean usages are merely results of the carelessness and freedom which the more elastic standards of the Elizabethan time permitted; others are forms of expression at that time quite accurate, but now become obsolete. 1. Nouns. The sign of the possessive sin- gular is sometimes omitted in dissyllables which already contain one or more sibilants, or where the following word begins with "s" ; e.g. : "fashion sake," III. ii. 268; "sentence end," III. ii. 139. Cf. our modern usages, "justice' sake," etc. 2. Adjectives. Double comparatives occur; e.g.: "more sounder," III. ii. 65; "more worth- ier," III. iii. 63. 3. Pronouns, (a) The nominative is often used for the objective; e.g.: "What he is, indeed, more suits you to conceive than I to speak of," I. ii. 286-87; "who doth he trot withal?" III. ii. 326; "who you saw," III. iv. 51. (b) Confusion between the personal and the 42 INTRODUCTION. reflexive forms is common; e.g.: "I confess me much guilty," I. ii. 200; "Quit Thee," III. i. 11. (c) The ethical dative is more frequent than in modern speech; e.g.: "I'll rhyme you so eight years together," III. ii. 96. (d) The relative is often omitted after "there is," "there are," etc., as it frequently is in mod- ern colloquial English ; e.g. : "There was not any man A died," IV. i. 101; "There's a girl A goes before the priest," IV. i. 147. 4. Verbs, (a) A singular verb is often found with two subjects or with a plural subject, espe- cially if the subject is a relative pronoun and so has no plural inflection; e.g. : " 'Tis such fools as you that makes the world full of ill-favour'd chil- dren," III. v. 52-53; "Our master and mistress seeks you," V. i. 66; "Thou and I am one," I. iii. 98. (b) The "n" is frequently dropped from the ending of the past participle of strong verbs; e.g.: "spoke" for "spoken," I. i. 92; "broke" for "broken," II. iv. 40. (c) Verbs of motion are at times omitted; e.g. : "I can tell who should A down," I. ii. 234; "It will A out at the casement," IV. i. 172. 5. Adverbs. (a) Double negatives are used with a merely intensive force; e.g.: "And yet give no thousand crowns neither," I. i. 95; "Afar shalt not," II. vii. 89; "Mr . . . there is no force," III. v. 26; "Mr doth not hear," AS YOU LIKE IT. 43 V. iii. 118. Cf. alsoV. iv. 92; epilogue,!, 9; etc. (b) An adverb is sometimes used where good modern usage requires an adjective; e.g. : " Looks he as freshly," III. ii. 240; "Those that she makes honest she makes very ill-favouredly ," for "ill-favoured," I. ii. 44. For "He looks suc- cessfully," see note on I. ii. 166. 6. Peepositions. (a) These are at times un- necessarily repeated; e.g. : "Of what kind should this cock come ofV* II. vii. 90; "Wherein we play tn," II. vii. 139. (b) Prepositions are sometimes omitted; e.g.: "Speak A sad brow," III. ii. 221-22; "I answer you A right painted cloth," III. ii. 286. AS YOU LIKE IT. 45 DRAMATIS PERSONAE. Duke, living in banishment. Frederick, his brother, and usurper of his dominions. Amiens ) Jaoues' \^ or< ^ s attending on the banished Duke. Le Beau, a courtier attending upon Frederick. Charles, wrestler to Frederick. Oliver, ) Jaques, >• sons of Sir Roland de Boys. Orlando, ) Adam, | . , rt ,. Dennis \ servan t s to Oliver. Touchstone, a clown. Sir Oliver Martext, a vicar. Corin, | Silvius, \^P^ds. William, a country fellow, in love with Audrey. A person representing Hymen. Rosalind, daughter to the banished Duke. Celia, daughter to Frederick. Phebe, a shepherdess. Audrey, a country wench. Lords, pages, and attendants, etc. Scene: Oliver's house; Duke Frederick's court; and the Forest of Arden. 45 AS YOU LIKE IT. ACT FIKST. Scene I. Orchard of Oliver's house. Enter Orlando and Adam. Orl, As I remember, Adam, it was upon this fashion : bequeathed me by will but poor a thousand crowns, and, as thou sayest, charged my brother, on his blessing, to breed 5 me well ; and there begins my sadness. My brother Jaques he keeps at school, and report speaks goldenly of his profit. For my part, he keeps me rustically at home, or, to speak more properly, stays me here at home unkept ; 10 for call you that keeping for a gentleman of my birth, that differs not from the stalling of an ox? His horses are bred better; for, besides that they are fair with their feeding, they are taught their manage, and to that 15 end riders dearly hired; but I, his brother, gain nothing under him but growth ; for the which his animals on his dunghills are as 48 / AS YOU LIKE IT. [Act I. Sc. i. much bound to him as I. Besides this nothing that he so plentifully gives me, the * something that nature gave me his counte-20 nance seems to take from me. He lets me feed with his hinds, bars me the place of a brother, and, as much as in him lies, mines my gentility with my education. This is it, Adam, that grieves me ; and the spirit of my 25 father, which I think is within me, begins to mutiny against this servitude. I will no longer endure it, though yet I know no wise remedy how to avoid it. Adam. Yonder comes my master, your brother. 30 Orl. Go apart, Adam, and thou shalt hear how he will shake me up. Enter Oliver. Oli. Now, sir ! what make you here? Orl. Nothing. I am not taught to make any thing. 35 Oli. What mar you then, sir? Orl. Marry, sir, I am helping you to mar that which God made, a poor unworthy brother of yours, with idleness. Oli. Marry, sir, be better employed, and be 40 naught awhile. Orl. Shall I keep your hogs and eat husks with them? What prodigal portion have I spent, that I should come to such penury? Oli. Know you where' you are, sir? 45 Orl. 0, sir, very well; here in your orchard. Act I. Sc. i.] AS YOU LIKE IT. 49 OIL Know you before whom, sir? Orl. Ay, better than him I am before knows me. I know you are my eldest brother; and, in 50 the gentle condition of blood, you should so know me. The courtesy of nations allows you my better, in that you are the first-born ; but the same tradition takes not away my blood, were there twenty brothers betwixt us. 55 I have as much of my father in me as you ; albeit, I confess, your coming before me is nearer to his reverence. Oli. What, boy! Orl. Come, come, elder brother, you are too 6o young in this. OIL Wilt thou lay hands on me, villain? Orl. I am no villain; I am the youngest son of Sir Eoland de Boys ; he was my father, and he is thrice a villain that says such a father 65 begot villains. Wert thou not my brother, I would not take this hand from thy throat till this other had pulled out thy tongue for saying so. Thou hast railed on thyself. Adam. Sweet masters, be patient; for your 70 father's remembrance, be at accord. Oli. Let me go, I say. Orl. I will not, till I please ; you shall hear me. My father charged you in his will to give me good education. You have trained me like a 75 peasant, obscuring and hiding from me all gentleman-like qualities. The spirit of my 50 I AS YOU LIKE IT. [Act I. Sc. i. father grows strong in me, and I will no longer endure it; therefore allow me such exercises as may become a gentleman, or give me the poor allottery my father left me by so testament. With that I will go buy my fortunes. Oli. And what wilt thou do? Beg, when that is spent? Well, sir, get you in. I will not long be troubled with you; you shall have 85 some part of your will. I pray you, leave me. Orl. I will no further offend you than becomes me for my good. Oli. Get you with him, you old dog. Adam. Is "old dog" my reward? Most true, I90 have lost my teeth in your service. God be with my old master ! He would not have spoke such a word. [Exeunt Orlando and Adam. Oli. Is it even so? Begin you to grow upon me? I will physic your rankness, and yet give no 95 thousand crowns neither. Holla, Dennis ! Enter Dennis. Ben. Calls your worship? OIL Was not Charles, the Duke's wrestler, here to speak with me? Den. So please you, he is here at the door andioo importunes access to you. OIL Call him in. [Exit Dennis.'] 'Twill be a good way ; and to-morrow the wrestling is. ActI. Sc. i] AS YOU LIKE IT. 51 Enter Charles. Olia. Good morrow to your worship. 105 OIL Good Monsieur Charles, what's the new news at the new court? Cha. There's no news at the court, sir, but the old news : that is, the old Duke is ban- ished by his younger brother the new Duke ; no and three or four loving lords have put them- selves into voluntary exile with him, whose lands and revenues enrich the new Duke; therefore he gives them good leave to wander. OIL Can you tell if Eosalind, the Duke's daugh- H5 ter, be banished with her father? Cha. 0, no; for the Duke's daughter, her cousin, so loves her, being ever from their cradles bred together, that she would have followed her exile, or have died to stay behind her. 120 She is at the court, and no less beloved of her uncle than his own daughter; and never two ladies loved as they do. OIL Where will the old Duke live? Cha. They say he is already in the forest of 135 Arden, and a many merry men with him; and there they live like the old Robin Hood of England. They say many young gentle- men flock to him every day, and fleet the time carelessly, as they did in the golden world. 130 OIL What, you wrestle to-morrow before the new Duke? Cha. Marry, do I, sir; and I came to. acquaint 52 AS YOU LIKE IT. [Act I. Sc. i. yon with a matter. I am given, sir, secretly to nnderstand that yonr younger brother, Orlando, hath a disposition to come in dis- 135 guised against me to try a fall. To-morrow, sir, I wrestle for my credit; and he that escapes me without some broken limb shall acquit him well. Your brother is but young and tender; and, for your love, I would bei40 loath to foil him, as I must, for my own honour, if he come in; therefore, out of my love to you, I came hither to acquaint you withal, that either you might stay him from his intendment, or brook such disgrace well 145 as he shall run into, in that it is a thing of his own search, and altogether against my will. 01%. Charles, I thank thee for thy love to me, which thou shalt find I will most kindly iso requite. I had myself notice of my brother's purpose herein, and have by underhand means laboured to dissuade him from it, but he is resolute. I'll tell thee, Charles, it is the stubbornest young fellow of France ; full of 155 ambition, an envious emulator of every man's good parts, a secret and villanous contriver against me his natural brother; therefore use thy discretion. I had as lief thou didst break his neck as his finger. And thou wert best 160 look to't; for if thou dost him any slight disgrace, or if he do not mightily grace him- Act I. Sc. i.] I AS YOU LIKE IT. 53 self on thee, he will practise against thee by poison, entrap thee by some treacherous 165 device, and never leave thee till he hath ta'en thy life by some indirect means or other ; for, I assure thee, and almost with tears I speak it, there is not one so young and so villanous this day living. I speak but brotherly of 170 him; but should I anatomize him to thee as he is, I must blush and weep, and thou must look pale and wonder. CM. I am heartily glad I came hither to you. If he come to-morrow, I'll give him his pay- 175 ment. If ever he go alone again, I'll never wrestle for prize more. And so, God keep your worship ! Oli. Farewell, good Charles. [Exit Charles. Now will I stir this gamester. I hope I shall 180 see an end of him ; for my soul, yet I know not why, hates nothing more than he. Yet he's gentle; never schooled, and yet learned; full of noble device ; of all sorts enchantingly beloved ; and indeed so much in the heart of 185 the world, and especially of my own people, who best know him, that I am altogether misprised. But it shall not be so long; this wrestler shall clear all. Nothing remains but that I kindle the boy thither, which now I'll 190 go about. [Exit. 54 AS YOU LIKE IT. [Act I. Sc. ii. SCEKE II. Laivn before the Duke's palace. Enter Rosalind and Celia, Cel. I pray thee, Rosalind, sweet my coz, be merry. Bos. Dear Celia, I show more mirth than I am mistress of ; and would you yet I were mer- rier? Unless you could teach me to forget a 5 banished father, you must not learn me how to remember any extraordinary pleasure. Cel. Herein I see thou lovest me not with the full weight that I love thee. If my uncle, thy banished father, had banished thy uncle, the 10 Duke my father, so thou hadst been still . with me, I could have taught my love to take thy father for mine. So wouldst thou, if the truth of thy love to me were so righteously tempered as mine is to thee. 15 Bos. Well, I will forget the condition of my estate, to rejoice in yours. Cel. You know my father hath no child but I, nor none is like to have : and, truly, when he dies, thou shalt be his heir ; for what he hath 20 taken away from thy father perforce, I will render thee again in affection. By mine honour, I will ; and when I break that oath, Act I. Sc. ii] AS YOU LIKE IT. 55 let me turn monster. Therefore, my sweet 25 Rose, my dear Eose, be merry. Eos. From henceforth I will, coz, and devise sports. Let me see; what think you of falling in love? Cel. Marry, I prithee, do, to make sport withal. 30 Bat love no man in good earnest, nor no further in sport neither than with safety of a pure blush thou mayst in honour come off again. Eos. What shall be our sport, then? 35 Cel. Let us sit and mock the good housewife Fortune from her wheel, that her gifts may henceforth be bestowed equally. Eos. I would we could do so ; for her benefits are mightily misplaced, and the bountiful blind 40 woman doth most mistake in her gifts to women. Cel. 'Tis true; for those that she makes fair she scarce makes honest, and those that she makes honest she makes very ill-favouredly. 45 Eos. Nay, now thou goest from Fortune's office I to Nature's. Fortune- reigns in gifts of the I world, not in the lineaments of Nature. Enter Touchstone. . Cel. No? When Nature hath made a fair creature, may she not by Fortune fall into the fire? so Though Nature hath given us wit to flout at Fortune, hath not Fortune sent in this fool to cut off the argument? 56 AS YOU LIKE IT. [Act I. So. ii. Bos. Indeed, there is Fortune too hard for Nature, when Fortune makes Nature's natu- ral the cutter-off: of Nature's wit. 55 Cel. Peradyenture this is not Fortune's work neither, but Nature's; who, perceiving our natural wits too dull to reason of such goddesses, hath sent this natural for our whetstone; for always the dulness of the fool6o is the whetstone of the wits. How now, wit ! whither wander you? Touch. Mistress, you must" come away to your father. Cel. Were you made the messenger? 65 Touch. No, by mine honour, but I was bid to come for you. Bos. Where learned you that oath, fool? Touch. Of a certain knight that swore by his honour they were good pancakes, and swore 70 by his honour the mustard was naught. Now v' I'll stand to it, the pancakes were naught and the mustard was good, and yet was not the knight forsworn. Cel. How prove you that, in the great heap of 75 your knowledge? Bos. Ay, marry, now unmuzzle your wisdom. Touch. Stand you both forth now. Stroke your chins, and swear by your beards that I am a knave. so Cel. - By our beards, if we had them, thou art. Touch. By my knavery, if I had it, then I were. ActI. Sc. ii.] AS YOU LIKE IT. 57 But if you swear by that that is not, you are not forsworn. No more was this knight, 85 swearing by his honour, for he never had any ; or if he had, he had sworn it away before ever he saw those pancakes or that mus- tard. Cel. Prithee, who is't that thou meanest? 90 Touch. One that old Frederick, your father, loves. Cel. My father's love is enough to honour him. Enough! speak no more of him. You'll be whipped for taxation one of these days. [ 95 Touch. The more pity, that fools may not speak wisely what wise men do foolishly. Cel. By my troth, thou sayest true; for since the little wit that fools have was silenced, the little foolery that wise men have makes a great ioo show. Here comes Monsieur Le Beau. Bos. With his mouth full of news. Cel. Which he will put on us, as pigeons feed their young. Eos. Then shall we be news-crammed. 105 Cel. All the better ; we shall be the more market- able. Enter Le Beau. Bon jour, Monsieur Le Beau. What's the news? Le Beau. Pair princess, you have lost much good no sport. Cel. Sport! Of what colour? 58 AS YOU LIKE IT. [Act I. So. ii. Le Beau. Y/hat colour, madam? How shall I answer you? Eos. As wit and fortune will. Touch. Or as the Destinies decree. 115 Gel. Well said. That was laid on with a trowel. Touch. Nay, if I keep not my rank, — Eos. Thou losest thy old smell. Le Beau. You amaze me, ladies. I would have I told you of good wrestling, which you have 120 lost the sight of. Ros. Yet tell us the manner of the wrestling. Le Beau. I will tell you the beginning; and, if it please your ladyships, you may see the end ; - for the best is yet to do ; and here, where you 125 are, they are coming to perform it. Gel. Well, the beginning, that is dead and buried. Le Beau. There comes an old man and his three sons, — Gel. I could match this beginning with an 0M130 tale. Le Beau. Three proper young men, of excellent growth and presence. Eos. With bills on their necks, "Be it known unto all men by these presents." 135 Le Beau. The eldest of the three wrestled with Charles, the Duke's wrestler; which Charles in a moment threw him, and broke three of his ribs, that there is little hope of life in him. So he served the second, and so thei40 third. Yonder they lie; the poor old man, ACT I. So. ii.] AS YOU LIKE IT. 59 their father, making such pitiful dole ovei them that all the beholders take his part with weeping. 145 Ros. Alas ! Touch, But what is the sport, monsieur, that the ladies have lost? Le Beau. Why, this that I speak of. Touch. Thus men may grow wiser every day. It 150 is the first time that ever I heard breaking of ribs was sport for ladies. Gel. Or I, I promise thee. Ros. But is there any else longs to see this broken music in his sides? Is there yet 155 another dotes upon rib-breaking? Shall we see this wrestling, cousin? Le Beau. You must, if you stay here ; for here is the place appointed for the wrestling, and they are ready to perform it. 160 Gel. Yonder, sure, they are coming. Let us now stay and see it. Flourish. Enter Duke Frederick, Lords, Orlando, Charles, and Attendants. Duke F. Come on. Since the youth will not be entreated, his own peril on his forwardness. Ros. Is yonder the man? 165 Le Beau. Even he, madam. Gel. Alas, he is too young! Yet he looks suc- cessfully. Duke F. How now, daughter and cousin! Are you crept hither to see the wrestling? 60 AS YOU LIKE IT. [Act I. So. ii. Bos. Ay, my liege, so please yon give us leave, m DuJce F. You will take little delight in it, I can tell you, there is such odds in the man. In pity of the challenger's youth I would fain dissuade him, but he will not be entreated. Speak to him, ladies; see if you can movers him. Cel. Call him hither, good Monsieur Le Beau. Duke F. Do so; I'll not be by. Le Beau. Monsieur the challenger, the princess calls for you. iso Orl. I attend them with all respect and duty. Bos. Young man, have you challenged Charles the wrestler? Orl. JSTo, fair princess; he is the general chal- lenger. I come but in, as others do, to try 185 with, him the strength of my youth. Gel. Young gentleman, your spirits are too bold for your years. You have seen cruel proof of this man's strength. If you saw yourself with your eyes, or knew yourself with your 190 judgment, the fear of your adventure would counsel you to a more equal enterprise. We pray you, for your own sake, to embrace your own safety, and give over this attempt. Bos. Do, young sir; your reputation shall noti95 therefore be misprised. We will make it our \ suit to the Duke that the wrestling might not go forward. Orl. I beseech you, punish me not with your hard ActI. Sc. ii.] AS YOU LIKE IT. 61 200 thoughts, wherein I confess me much guilty, to deny so fair and excellent ladies any thing. But let your fair eyes and gentle wishes go with me to my trial ; wherein if I be foiled, there is but one shamed that was never 205 gracious; if killed, but one dead that is willing to be so. I shall do my friends no wrong, for I have none to lament me; the world no injury, for in it I have nothing. Only in the world I fill up a place, which 210 may be better supplied when I have made it empty. Eos. The little strength that I have, I would it were with you. Cel. And mine, to eke out hers. 215 Eos. Fare you well ! Pray heaven I be deceived in you ! Cel. Your heart's desires be with you! Cha. Come, where is this young gallant that is so desirous to lie with his mother earth? 220 Orl. Eeacly, sir ; but his will hath in it a more modest working. Duke F. You shall try but one fall. Cha. No, I warrant your Grace, you shall not entreat him to a second, that have so 225 mightily persuaded him from a first. Orl. You mean to mock me after ; you should not have mocked me before. But come your ways. Eos. Now Hercules be thy speed, young man! 62 AS YOU LIKE IT. [Act I. So. ii. Cel. I would I were invisible, to catch the strong 230 fellow by the leg. [They wrestle. Bos. excellent young man ! Cel. If I had a thunderbolt in mine eye I can tell who should down. [Shout. Charles is thrown. Duke F. No more, no more. 235 Orl. Yes, I beseech your Grace. I am not yet well breathed. Duke F. How dost thou, Charles? Le Beau. He cannot speak, my lord. Duke F. Bear him away. "What is thy name, 240 young man? Orl. Orlando, my liege; the youngest son of Sir Eoland de Boys. Duke F. I would thou hadst been son to some man else. The world esteemed thy father honourable, 245 But I did find him still mine enemy. Thou shouldst have better pleased me with this deed, Hadst thou descended from another house. But fare thee well ; thou art a gallant youth. I would thou hadst told me of another father. 250 [Exeunt Duke Fred., train, and Le Beau, Cel. Were I my father, coz, would I do this? Orl. I am more proud to be Sir Eoland's son, His youngest son, — and would not change that calling, To be adopted heir to Frederick. Act I. Sc. ii.] AS YOU LIKE IT 63 255 Bos. My father loved Sir Roland as his soul, And all the world was of my father's mind. Had I before known this young man his son, I should have given him tears unto entreaties, Ere he should thus have ventured. Gel. Gentle cousin, 260 Let us go thank him and encourage him. My father's rough and envious disposition Sticks me at heart. Sir, you have well deserved. If you do keep your promises in love But justly, as you have exceeded all promise, 265 Your mistress shall be happy. Bos. Gentleman, [ Giving him a chain from her neck. Wear this for me, one out of suits with fortune, That could give more, but that her hand lacks means. Shall we go, coz? Gel. Ay. Fare you well, fair gentleman. Orl. Can I not say, I thank you? My better parts 270 Are all thrown down, and that which here stands up Is but a quintain, a mere lifeless block. Bos. He calls us back. My pride fell with my fortunes ; I'll ask him what he would. Did you call, sir? 64 AS YOU LIKE IT. [Act I. Sc. ii. Sir, you have wrestled well and overthrown More than your enemies. Gel. Will you go, coz?275 Eos. Have with you. Fare you well. [Exeunt Rosalind and Gelia. Orl. What passion hangs these weights upon my tongue? I cannot speak to her, yet she urged confer- ence. poor Orlando, thou art overthrown! Or Charles or something weaker masters thee. 280 Re-enter Le Beau. Le Beau. G-ood sir, I do in friendship counsel you To leave this place. Albeit you have deserved High commendation, true applause, and love, Yet such is now the Duke's condition, That he misconstrues all that you have done. 285 The Duke is humorous : — what he is, indeed, More suits you to conceive than I to speak of. Orl. I thank you, sir: and, pray you, tell me this: Which of the two was daughter of the Duke, ■ That here was at the wrestling? 2 Le Beau. Neither his daughter, if we judge by manners ; But yet, indeed, the taller is his daughter. The other is daughter to the banished Duke, And here detained by her usurping uncle, Act I. Sc. iii.] AS YOU LIKE IT. 65 295 To keep his daughter company ; whose loves Are dearer than the natural bond of sisters. But I can tell you that of late this Duke Hath ta'en displeasure 'gainst his gentle niece, Grounded upon no other argument 300 But that the people praise her for her virtues, And pity her for her good father's sake; And, on my life, his malice 'gainst the lady Will suddenly break forth. Sir, fare you well. Hereafter, in a better world than this, 306 I shall desire more love and knowledge of you. Orl. I rest much bounden to you : fare you well. [Exit Le Beau. Thus must I from the smoke into the smother, From tyrant Duke unto a tyrant brother. But heavenly Eosalind ! [Exit. Scej^e III. A room in the palace. Enter Celia and Rosalind. Gel, Why, cousin! why, Eosalind! Cupid have mercy ! not a word? Rob. Not one to throw at a dog. 66 AS YOU LIKE IT. [Act I. So. iii. Cel. No, thy words are too precious to be cast away upon curs ; throw some of them at me. 5 Come, lame me with reasons. Eos. Then there were two cousins laid up, when the one should be lamed with reasons and the other mad without any. Cel. But is all this for your father? 10 Eos. No, some of it is for my child's father. 0, how full of briers is this working-day world! Cel. They are but burs, cousin, thrown upon thee in holiday foolery. If we walk not in the trodden paths, our very petticoats will catch 15 them. Eos. I could shake them off my coat. These burs are in my heart. Cel. Hem them away. Eos. I would try, if I could cry hem and have 20 him. Cel. Come, come, wrestle with thy affections. Eos. 0, they take the part of a better wrestler than myself! Cel. 0, a good wish upon you! you will try in 25 time, in despite of a fall. But 3 turning these jests out of service, let us talk in good earnest. Is it possible, on such a sudden, you should fall into so strong a liking with old Sir Roland's youngest son? 30 Eos. The Duke my father loved his father dearly. Cel. Doth it therefore ensue that you should love his son dearly? By this kind of chase, I 1 Act I. Sc. iii.] AS YOU LIKE IT. 67 should hate him, for my father hated his 35 father dearly ; yet I hate not Orlando. Ros. No, faith, hate him not, for my sake. Gel. Why should I not? Doth he not deserve well? Ros. Let me love him for that, and do you love him because I do. Look, here comes the 40 Duke. Gel. With his eyes full of anger. Enter Duke Frederick, with Lords. Duke F. Mistress, dispatch you with your safest haste, And get you from our court. Ros. Me, uncle? Duke F. You, cousin. Within these ten days if that thou be'st found 45 So near our public court as twenty miles, Thou diest for it. Ros. I do beseech your Grace, Let me the knowledge of my fault bear with me. If with myself I hold intelligence, Or have acquaintance with mine own desires; 50 If that I do not dream, or be not frantic, — As I do trust I am not — then, dear uncle, Never so much as in a thought unborn Did I offend your Highness. Duke F. Thus do all traitors. If their purgation did consist in words, 55 They are as innocent as grace itself. Let it suffice thee that I trust thee not. 68 AS YOU LIKE IT. [Act I. Sc. iii. Ros. Yet your mistrust cannot make me a traitor. Tell me whereon the likelihood depends. Duke F. Thou art thy father's daughter; there's enough. Ros. So was I when your Highness took his duke- 60 dom. So was I when your Highness banished him. Treason is not inherited, my lord ; Or, if we did derive it from our friends, What's that to me? My father was no traitor. Then, good my liege, mistake me not so much 65 To think my poverty is treacherous. Cel. Dear sovereign, hear me speak. Duke F. Ay, Celia; we stayed her for your sake, Else had she with her father ranged along. Cel. I did not then entreat to have her stay ; 70 It was your pleasure and your own remorse. I was too young that time to value her. But now I know her. If she be a traitor, Why so am I. We still have slept together, Eose at an instant, learned, played, eat 75 together ; And wheresoe'er we went, like Juno's swans, Still we went coupled and inseparable. Duke F. She is too subtle for thee ; and her smoothness, Her very silence and her patience Speak to the people, and they pity her. so Thou art a fool. She robs thee of thy name; Act! Sc.iii.] AS YOU LIKE IT. 69 « And thou wilt show more bright and seem more virtuous When she is gone. Then open not thy lips. Firm and irrevocable is my doom 85 Which I have passed upon her; she is banished. Gel. Pronounce that sentence then on me, my liege; I cannot live out of her company. Duke F. You are a fool. You, niece, provide yourself. If you outstay the time, upon mine honour, 90 And in the greatness of my word, you die. [Exeunt Duke Frederick and Lords. Gel. my poor Eosalind, whither wilt thou go? Wilt thou change fathers? I will give thee mine. I charge thee, be not thou more grieved than I am. Eos. I have more cause. Gel. Thou hast not, cousin; 95 Prithee, be cheerful. Know'st thou not, the Duke Hath banished me, his daughter? Eos. That he hath not. Gel. No, hath not? Rosalind lacks then the love Which teacheth thee that thou and I am one. Shall we be sundered? shall we part, sweet girl? loo No : let my father seek another heir. 70 AS YOU LIKE IT. [Act I. Sc. iii. Therefore devise with me how we may fly, Whither to go and what to bear with us ; And do not seek to take your change upon you, To bear your griefs yourself, and leave me out; For, by this heaven, now at our sorrows pale, 105 Say what thou canst, I'll go along with thee. Ros. Why, whither shall we go? Gel. To seek my uncle in the forest of Arden. Ros. Alas, what danger will it be to us, Maids as we are, to travel forth so far! 110 Beauty provoketh thieves sooner than gold. Gel. I'll put myself in poor and mean attire, And with a kind of umber smirch my face. The like do you. So shall we pass along And never stir assailants. Ros. Were it not better, 115 Because that I am more than common tall, That I did suit me all points like a man? A gallant curtle-axe upon my thigh,' A boar-spear in my hand ; and — in my heart Lie there what hidden woman's fear there 120 will— We'll have a swashing and a martial outside, As many other mannish cowards have That do outface it with their semblances. Gel. What shall I call thee when thou art a man? Ros. I'll have no worse a name than Jove's own 125 page, Act! Sc. iii.] AS YOU LIKE IT 71 And therefore look you call me Ganymede. But what will you be called? Gel. Something that hath a reference to my state : No longer Celia, but Aliena. 180 EoSo But, cousin, what if we assayed to steal The clownish fool out of your father's court? Would he not be a comfort to our travel? Gel. He'll go along o'er the wide world with me. Leave me alone to woo him. Let's away, 135 And get our jewels and our wealth together, Devise the fittest time and safest way To hide us from pursuit that will be made After my flight. Now go we in content To liberty and not to banishment. [Exeunt. ACT SECOND. Scene I. TJie Forest of Arden. Enter Duke senior, Amiens, and tioo or three Lords, like foresters. Duke S. Now, my co-mates and brothers in exile, , Hath not old custom made this life more sweet Than that of painted pomp? Are not these woods More free from peril than the envious court? Here feel we but the penalty of Adam, 5 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 10 That feelingly persuade me what I am." /*""• Sweet are the uses of adversity; Which, like the toad, ugly and venomous, Wears yet a precious jewel in his head: And this our life, exempt from public haunt, 15 Act II. Sc. i.] AS YOU LIKE IT. 73 Finds tongues in trees, books in the running brooks, Sermons in stones, and good in every thing. Ami. I would not change it. Happy is your Grace, That can translate the stubbornness of for- tune 20 Into so quiet and so sweet a style. Duke 8. Come, shall we go and kill us venison? And yet it irks me the poor dappled fools, Being native burghers of this desert city, Should in their own confines with forked heads 35 Have their round haunches gored. First Lord. Indeed, my lord, The melancholy Jaques grieves at that ; And, in that kind, swears you do more usurp Than doth your brother that hath banished you. To-day my Lord of Amiens and myself 30 Did steal behind him as he lay along Under an oak whose antique root peeps out Upon the brook that brawls along this wood : To the which place a poor sequestered stag, That from the hunter's aim had ta'en a hurt, 35 Did come to languish ; and indeed, my lord, The wretched animal heaved forth such groans, That their discharge did stretch his leathern coat 74 AS YOU LIKE IT. [Act II. Sc. i Almost to bursting, and the big round tears Coursed one another down his innocent nose In piteous chase ; and thus the hairy fool, 40 Much marked of the melancholy Jaques, Stood on the extremest verge of the swift brook, Augmenting it with tears. Duke S. But what said Jaques? Did he not moralize this spectacle? First Lord. 0, yes, into a thousand similes. 45 First, for his weeping into the needless stream : "Poor deer," quoth he, "thou makest a testament As worldlings do, giving thy sum of more To that which had too much." Then, being there alone, Left and abandoned of his velvet friends, 50 " "Pis right," quoth he; "thus misery doth part The flux of company. " Anon a careless herd, Full of the pasture, jumps along by him And never stays to greet him. "Ay," quoth Jaques, "Sweep on, you fat and greasy citizens. 55 'Tis just the fashion. Wherefore do you look Upon that poor and broken bankrupt there?" Thus most invectively he pierceth through The body of the country, city, court, Yea, and of this our life; swearing that we 60 Act II. Sc. ii.] AS YOU LIKE IT. 75 Are mere usurpers, tyrants, and what's worse, To fright the animals and to kill them up In their assigned and native dwelling-place. Duke S. And did you leave him in this contem- plation? 65 Sec. Lord. We did, my lord, weeping and com- menting Upon the sobbing deer. Duke 8. Show me the place. I love to cope him in these sullen fits, For then he's full of matter. First Lord. I'll bring you to him straight. [Exeunt. SCEtfE II. A room in the palace. Enter Duke Frederick, ivith Lords. Duke F. Can it be possible that no man saw them? It cannot be. Some villains of my court Are of consent and sufferance in this. First Lord. I cannot hear of any that did see her. 5 The ladies, her attendants of her chamber, Saw her a-bed, and in the morning early They found the bed untreasured of their mistress. 76 AS YOU LIKE IT. [Act II. Sc. iii. Sec. Lord. My lord, the roynish clown, at whom so oft Your Grace was wont to laugh, is also missing. Hisperia, the princess' gentlewoman, 10 Confesses that she secretly o'erheard Your daughter and her cousin much com- mend The parts and graces of the wrestler That did but lately foil the sinewy Charles ; And she believes, wherever they are gone, is That youth is surely in their company. Dulse F. Send to his brother. Fetch that gallant hither. If he be absent, bring his brother to me ; I'll make him find him. Do this suddenly, And let not search and inquisition quail 20 To bring again these foolish runaways. [Exeunt. Scene III. Before Oliver's house. Enter Orlando and Adam, meeting. Orl. Who's there? Adam. What, my young master? my gentle master ! my sweet master! you memory Act II. Sc. iii.] AS YOU LIKE IT. 77 Of old Sir Eoland ! Why, what make you here? 5 "Why are you virtuous? Why do people love you? Aud wherefore are you gentle, strong, and val- iant? Why would you be so fond to overcome The bonny priser of the humorous Duke? Your praise is come too swiftly home before you. 10 Know you not, master, to some kind of men Their graces serve them but as enemies? No more do yours. Your virtues, gentle master, Are sanctified and holy traitors to you. 0, what a world is this, when what is comely is Envenoms him that bears it ! Orl. Why, what's the matter? Adam. unhappy youth! Come not within these doors ! Within this roof The enemy of all your graces lives. Your brother — no, no brother; yet the son — 20 Yet not the son, I will not call him son, Of him I was about to call his father, — Hath heard your praises, and this night he means To burn the lodging where you use to lie And you within it. If he fail of that, 25 He will have other means to cut you off. 78 AS YOU LIKE IT. [Act II. So. iii. I overheard him and his practices. This is no place ; this house is but a butchery. Abhor it, fear it, do not enter it. Orl. Why, whither, Adam, wouldst thou have me go? Adam. No matter whither, so you come not 30 here. Orl. What, wouldst thou have me go and beg my food? Or with a base and boisterous sword enforce A thievish living on the common road? This I must do, or know not what to do; Yet this I will not do, do how I can; 35 I rather will subject me to the malice Of a diverted blood and bloody brother. Adam. But do not so. I have five hundred crowns, The thrifty hire I saved under your father, Which I did store to be my foster-nurse 40 When service should in my old limbs lie lame, And unregarded age in corners thrown, j- Take that, and He that doth the ravens feed Yea, providently caters for the sparrow, Be comfort to my age! Here is the gold. 45 All this I give you. Let me be your servant. Though I look old, yet I am strong and lusty ; For in my youth I never did apply Hot and rebellious liquors in my blood, Nor did not with unbashful forehead woo 50 The means of weakness and debility; Act II. Sc. iii.] AS YOU LIKE IT. 79 j Therefore my age is as a lusty winter, I Frosty, but kindly. Let me go with you ; I'll do the service of a younger man 55 In all your business and necessities. Orl. good old man, how well in thee appears The constant service of the antique world, When service sweat for duty, not for meed ! Thou art not for the fashion of these times, 60 Where none will sweat but for promotion, And having that do choke their service up Even with the having. It is not so with thee ; But, poor old man, thou prunest a rotten tree, That cannot so much as a blossom yield 65 In lieu of all thy pains and husbandry. But come thy ways; we'll go along together, And ere we have thy youthful wages spent, We'll light upon some settled low content. Adeem. Master, go on, and I will follow thee, to To the last gasp, with truth and loyalty. From seventeen years till now almost four- score Here lived I, but now live here no more. At seventeen years many their fortunes seek, But at fourscore it is too late a week ; 75 Yet fortune cannot recompense me better Than to die well and not my master's debtor. [Exeunt. 80 AS YOU LIKE IT. [Act II. Sc. iv. . Scene IV. The Forest of Arden. Enter Rosalind for Ganymede, Celia for Aliena, and Touchstone. Eos. Jupiter, how weary are my spirits ! Touch. I care not for my spirits, if my legs were not weary. Bos. I could find in my heart to disgrace my man's apparel and to cry like a woman; but 5 I must comfort the weaker vessel, as doublet and hose ought to show itself courageous to petticoat; therefore, courage, good Aliena. Cel. I pray you, bear with me; I cannot go no further. 10 Touch. For my part, I had rather bear with you than bear you. Yet I should bear no cross if I did bear you, for I think you have no money in your purse. Ros. Well, this is the forest of Arden. 15 Touch. Ay, now am I in Arden, the more fool I. When I was at home, I was in a better place ; but travellers must be content. Ros. Ay, be so, good Touchstone. Miter Corin and Silvius. Look you, who comes here ; a young man and 20 an old in solemn talk. Act II. Sc. iv.] AS YOU LIKE IT. 81 Cor. That is the way to make her scorn you still. J Sil. Oorin, that thou knew'st how I do love her! Cor. I partly guess; for I have loved ere now. , 25 Sil. No, Oorin, being old, thou canst not guess, Though in thy youth thou wast as true a lover As ever sighed upon a midnight pillow. But if thy love were ever like to mine, — As sure I think did never man love so — 30 How many actions most ridiculous Hast thou been drawn to by thy fantasy? Cor. Into a thousand that I have forgotten. Sil. 0, thou didst then ne'er love so heartily! If thou remember'st not the slightest folly 85 That ever love did make thee run into, Thou hast not loved ; Or if thou hast not sat as I do now, Wearing thy hearer in thy mistress' praise Thou hast not loved ; 40 Or if thou hast not broke from company Abruptly, as my passion now makes me, Thou hast not loved. Phebe, Phebe, Phebe! [Exit. Eos. Alas, poor shepherd! searching of thy wound, 45 I have by hard adventure found mine own. Touch. And I mine. I remember, when I was in love I broke my sword upon a stone and bid him take that for coming a-night to Jane Smile; and I remember the kissing of her 82 AS YOU LIKE IT. [Act II. Sc. iv. batlet and the cow's dugs that her pretty 50 chopt hands had milked; and I remember the wooing of a peascod instead of her ; from whom I took two cods and, giving her them again, said with weeping tears, "Wear these for my sake." We that are true lovers run 55 into strange capers ; but as all is mortal in nature, so is all nature in love mortal in folly. Eos. Thou speakest wiser than thou art ware of. Touch. Nay, I shall ne'er be ware of mine own 60 wit till I break my shins against it. Eos. Jove, Jove ! this shepherd's passion Is much upon my fashion. Touch. And mine ; but it grows something stale with me. 65 Cel. I pray you, one of you question yond man If he for gold will give us any food. I faint almost to death. Touch. Holla, you clown ! Eos. Peace, fool ; he's not thy kinsman. Cor. Who calls? Touch. Your betters, sir. Cor. Else are they very wretched. 7* Eos. Peace, I say. Good even to you, friend. Cor. And to you, gentle sir, and to you all. Eos. I prithee, shepherd, if that love or gold Can in this desert place buy entertainment, • Bring us where we may rest ourselves and 75 feed. Act II. Sc. iv.] AS YOU LIKE IT. 83 Here's a young maid with travel much oppressed And faints for succour. Cor. Fair sir, I pity her, And wish, for her sake more than for mine own, My fortunes were more able to relieve her ; 80 But I am shepherd to another man, And do not shear the fleeces that I graze. My master is of churlish disposition, And little recks to find the way to heaven By doing deeds of hospitality^ Besides, his cote, his flocks, and bounds of feed Are now on sale, and at our sheepcote now, By reason of his absence, there is nothing That you will feed on; but what is, come see, And in my voice most welcome shall you be. 90 Bos. What is he that shall buy his flock and pasture? Cor. That young swain that you saw here but erewhile, That little cares for buying any thing. Eos. I pray thee, if it stand with honesty, Buy thou the cottage, pasture, and the flock, 95 And thou shalt have to pay for it of us. Cel. And we will mend thy wages. I like this place, And willingly could waste my time in it. 84 AS YOU LIKE IT. [Act II, Sc. v. Cor. Assuredly the thing is to be sold. Go with me. If you like upon report The soil, the profit, and this kind of life, 100 I will your very faithful feeder be, And buy it with your gold right suddenly. [Exeunt. SCEISTE V. The forest. Enter Amiens, Jaques, and others. SOISTG. Ami. Under the greenwood tree Who loves to lie with me, And turn his merry note Unto the sweet bird's throat, Come hither, come hither, come hither ! 5 Here shall he see No enemy But winter and rough weather. Jaq. More, more, I prithee, more. Ami. It will make you melancholy, Monsieur 10 Jaques. Jaq. I thank it. More, I prithee, more. I can | suck melancholy out of a song, as a weasel sucks eggs. More, I prithee, more. Act II. Sc. v.] AS YOU LIKE IT. 85 15 Ami. My voice is ragged. I know I cannot please you. Jaq. I do not desire you to please me; I do desire you to sing. Come, more; another stanzo. Call you 'em stanzos? 20 Ami. What you will, Monsieur Jaques. Jaq. Nay, I care not for their names; they owe me nothing. Will you sing? Ami. More at your request than to please myself. Jaq. Well then, if ever I thank any man, I'll 25 thank you; but that they call compliment is like the encounter of two dog-apes ; and when a man thanks me heartily, methinks I have given him a penny and he renders me the beggarly thanks. Come, sing; and you that so will not, hold your tongues. Ami. Well, I'll end the song. Sirs, cover the while; the Duke will drink under this tree. He hath been all this day to look you. Jaq. And I have been all this day to avoid him. 35 He is too disputable for my company. I think of as many matters as he ; but I give heaven thanks, and make no boast of them. Come, warble, come. SONG. [All together here.] Who doth ambition shun, 40 And loves to live i' the sun, Seeking the food he eats, 86 AS YOU LIKE IT. [Act II. Sc. v. And pleased with what he gets, Come hither, come hither, come hither ! Here shall he see No enemy 45 But winter and rough weather. Jaq. I'll give you a verse to this note, that I made yesterday in despite of my invention. Ami. And I'll sing it. Jaq. Thus it goes: — 58 If it do come to pass That any' man turn ass, Leaving his wealth and ease A stubborn will to please, Ducdame, ducdame, ducdame! 55 Here shall he see Gross fools as he, And if he will come to me. Ami. What's that "ducdame"? Jaq. 'Tis a Greek invocation, to call fools into a60 circle. I'll go sleep, if I can; if I cannot, I'll rail against all the first-born of Egypt. Ami. And I'll go seek the Duke; his banquet is prepared. [Exeunt severally. Act II. Sc. vi.l AS YOU LIKE IT. 87 SCEtfE VI. The forest. Enter Orlando and Adam. Adam. Dear master, I can go no further. 0, I die for food ! Here lie I down, and measure out my grave. Farewell, kind master. Orl. Why, how now, Adam! no greater heart in 6 thee? Live a little ; comfort a little ; cheer thyself a little. If this uncouth forest yield any thing savage, I will either be food for it or bring it for food to thee. Thy conceit is nearer death than thy powers. For my sake K> be comfortable; hold death awhile at the arm's end. I will here be with thee pres- ently; and if I bring thee not something to eat, I will give thee leave to die; but if thou diest before I come, thou art a mocker of my % labour. Well said ! thou lookest cheerly, and I'll be with thee quickly. Yet thou liest in the bleak air. Come, I will bear thee to some shelter ; and thou shalt not die for lack of a dinner, if there live any thing in this 20 desert. Cheerly, good Adam! [Exeunt. 88 AS YOU LIKE IT. [Act II. Sc. vii. Scene VII. The forest. A table set out. Enter Duke senior, Amiens, and .Lords, like outlaws. Duke S. I think he be transformed into a beast, For I can no where find him like a man. First Lord. My lord, he is but even now gone hence. Here was he merry, hearing of a song. Duke 8. If he, compact of jars, grow musical, 5 We shall have shortly discord in the spheres. Go, seek him; tell him I would speak with him. Enter Jaques. First Lord. He saves my labour by his own approach. Duke S. Why, how now, monsieur ! what a life is this, That your poor friends must woo your com- io pany? What, you look merrily ! Jaq. A fool, a fool ! I met a fool i' the forest, A motley fool. A miserable world! As I do live by food, I met a fool ; Who laid him down and basked him in the 15 sun, Act II. Sc. vii.] AS YOU LIKE IT. 89 And railed on Lady Fortune in good terms, In good set terms, and yet a motley fool. "Good morrow, fool," quoth I. "No, sir," quoth he, "Call me not fool till heaven hath sent me fortune." so And then he drew a dial from his poke, And, looking on it with lack-lustre eye, Says very wisely, "It is ten o'clock. Thus we may see," quoth he, "how the world wags. 'Tis but an hour ago since it was nine ; 25 And after one hour more 'twill be eleven; And so, from hour to hour, we ripe and ripe, And then, from hour to hour, we rot and rot; And thereby hangs a tale. " When I did hear The motley fool thus moral on the time, 30 My lungs began to crow like chanticleer, That fools should be so deep-contemplative; And I did laugh sans intermission An hour by his dial. noble fool ! A worthy fool! Motley's the only wear. zhDuke S. What fool is this? Jaq. worthy fool! One that hath been a courtier, And says, if ladies be but young and fair, They have the gift to know it; and in his brain, Which is as dry as the remainder biscuit 20 AS YOU LIKE IT. [Act II. Sc. vii. After a voyage, he hath strange places 40 crammed With observation, the which he vents In mangled forms. that I were a fool ! I am ambitious for a motley coat. Duke S. Thon shalt have one. Jaq. It is my only suit ; — Provided that you weed your better judg-45 ments Of all opinion that grows rank in them That I am wise. I must have liberty t Withal, as large a charter as the wind, To blow on whom I please; for so fools have; And they that are most galled with my folly, 50 They most must laugh. And why, sir, must they so? The "why" is plain as way to parish church. He that a fool doth very wisely hit Doth very foolishly, although he smart, [Not to] seem senseless of the bob ; if not, 55 The wise man's folly is anatomized Even by the squandering glances of the fool. Invest me in my motley. Give me leave To speak my mind, and I will through and through Cleanse the foul body of the infected world, 60 If they will patiently receive my medicine. DuTce 8. Fie on thee! I can tell what thou wouldst do. Jaq. What, for a counter, would I do but good? Act II. Sc. vii] AS YOU LIKE IT. 91 Duke S. Most mischievous foul sin, in chiding sin. For thou thyself hast been a libertine, As sensual as the brutish sting itself ; And all the embossed sores and headed evils, That thou with license of free foot has caught, Wouldst thou disgorge into the general world. Jaq. Why, who cries out on pride, That can therein tax any private party? Doth it not flow as hugely as the sea, Till that the wearer's very means do ebb? What woman in the city do I name, When that I say the city-woman bears : The cost of princes on unworthy shoulders? Who can come in and say that I mean her, When such a one as she such is her neigh- bour? Or what is he of basest function, ; That says his bravery is not on my cost, Thinking that I mean him, but therein suits His folly to the mettle of my speech? There then ; how then? what then? Let me see wherein My tongue hath wronged him. If it do him right, Then he hath wronged himself. If he be free, Why then my taxing like a wild-goose flies, Unclaimed of any man. But who comes here? 92 AS YOU LIKE IT. [Act II. Sc. vii Enter Orlando, with his sword drawn. Orl. Forbear, and eat no more. Jaq. Why, I have eat none yet. Orl. 'Not slialt not, till necessity be served. Jaq. Of what kind should this cock come of? 90 Duke S. Art thou thus boldened, man, by thy dis- tress? Or else a rude despiser of good manners, That in civility thou seem'st so empty? Orl. You touched my vein at first; the thorny point Of bare distress hath ta'en from me the show 95 Of smooth civility. Yet am I inland bred And know some nurture. But forbear, I say. He dies that touches any of this fruit Till I and my affairs are answered. Jaq, An you will not be answered with reason, 100 I mast die Duke 8. What would you have? Your gentleness shall force, More than your force move us to gentleness. Orl. I almost die for food ; and let me have it. Duke S. Sit down and feed, and welcome to our ios table. Orl. Speak you so gently? Pardon me, I pray you. I thought that all things had been savage here, And therefore put I on the countenance Act II. Sc. vii.] AS YOU LIKE IT. 93 Of stern commandment. But whate'er you are no That in this desert inaccessible, Under the shade of melancholy boughs, — Lose and neglect the creeping hours of time; If ever you have looked on better days, If ever been where bells have knolled to church, 115 If ever sat at any good man's feast, If ever from your eyelids wiped a tear 'And know what 'tis to pity and be pitied, Let gentleness my strong enforcement be ; In the which hope I blush, and hide my sword. 120 Duke 8. True is it that we have seen better days, And have with holy bell been knolled to church, And sat at good men's feasts, and wiped our eyes Of drops that sacred pity hath engendered ; And therefore sit you down in gentleness 125 And take upon command what help we have That to your wanting may be ministered. Orl. Then but forbear your food a little while, Whiles, like a doe, I go to find my fawn And give it food. There is an old poor man, 130 Who after me hath many a weary step Limped in pure love. Till he be first sufficed, Oppressed with two weak evils, age and hunger, 94 AS YOU LIKE IT. [Act II. Sc. vii. I will not touch a bit. Duke S. Go find him out, And we will nothing waste till you return. Orl. I thank ye ; and be blest for your good com- 135 fort! [Exit Duke S. Thou seest we are not all alone unhappy. This wide and universal theatre Presents more woeful pageants than the scene Wherein we play in. Jaq. All the world 's a stage, And all the men and women merely players. I4f They have their exits and their entrances, And one man in his time plays many parts, His acts being seven ages. At first the infant, Mewling and puking in the nurse's arms. Then the whining school -boy, with his satchel 145 And shining morning face, creeping like snail Unwillingly to school. And then the lover, Sighing like furnace, with a woeful ballad Made to his mistress' eyebrow. Then a soldier, Eull of strange oaths, and bearded like the 150 pard, Jealous in honour, sudden, and quick in quarrel, Seeking the bubble reputation Even in the cannon's mouth. And then the justice, In fair round belly with good capon lined, ACT II. So. vii.] AS YOU LIKE IT. 95 15& With eyes severe and beard of formal cut, Full of wise saws and modern instances ; And so he plays his part. The sixth age shifts Into the lean and slippered pantaloon, With spectacles on nose and pouch on side, lflo His youthful hose, well saved, a world too wide For his shrunk shank; and his big manly voice, Turning again toward childish treble, pipes And whistles in his sound. Last scene of all, That ends this strange eventful history, 165 Is second childishness and mere oblivion, Sans teeth, sans eyes, sans taste, sans every thing. Re-enter Orlando, with Adam. Duke S. Welcome. Set down your venerable burthen, And let him feed. Orl. I thank you most for him. Adam. So had you need : to I scarce can speak to thank you for myself. Duke S. Welcome; fall to. I will not trouble you As yet, to question you about your fortunes. Give us some music ; and, good cousin, sing. SONG. i Ami. Blow, blow, thou winter wind, 75 Thou art not so unkind 96 AS YOU LIKE IT. [Act II. Sc. vii. As man's ingratitude; Thy tooth is not so keen, Because thou art not seen, Although thy breath be rude. Heigh-ho ! sing, heigh-ho ! unto the green holly, iso Most friendship is feigning, most loving mere folly. Then, heigh-ho, the holly ! This life is most jolly. Freeze, freeze, thou bitter sky, That dost not bite so nigh 185 As benefits forgot ; Though thou the waters warp, Thy sting is not so sharp As friend remembered not. Heigh-ho! sing, etc. Duke S. If that you were the good Sir Eoland's son, As you have whispered faithfully you were, And as mine eye doth his effigies witness Most truly limned and living in your face, Be truly welcome hither. I am the Duke 195 That loved your father. The residue of your fortune, Go to my cave and tell me. Good old man, Thou art right welcome as thy master is. Support him by the arm. Give me your hand, And let me all your fortunes understand. 300 \ [Exeunt. ACT THIRD. SCEKE I. A room i?i the palace. Enter Duke Frederick, Lords, and Oliver. DicJce F. Not see him since? Sir, sir, that cannot be: Bnt were I not the better part made mercy, I should not seek an absent argument Of my revenge, thou present. But look to it. 5 Find out thy brother, wheresoe'er he is; \ Seek him with candle; bring him dead or living Within this twelvemonth, or turn thou no more To seek a living in our territory. Thy lands and all things that thou dost call thine 10 Worth seizure do we seize into our hands, Till thou canst quit thee by thy brother's mouth Of what we think against thee. 01%. that your Highness knew my heart in this! I never loved my brother in my life. 97 98 AS YOU LIKE IT. [Act III. So. ii. Duke F. More villain thou. Well, push him outis of doors; And let my officers of such a nature Make an extent upon his house and lands. Do this expediently and turn him going. [Exeunt. Scene II. The forest. Enter Orlando, with a paper. Orl. Hang there, my verse, in witness of my love; And thou, thrice-crowned queen of night, survey "With thy chaste eye, from thy pale sphere above, Thy huntress' name that my full life doth sway. Eosalind! these trees shall be my books, 5 And in their barks my thoughts I'll char- acter ; That every eye which in this forest looks Shall see thy virtue witnessed every where. Kun : run, Orlando; carve on every tree The fair, the chaste, and unexpressive she. io [Exit. Act III. Sc. ii.] AS YOU LIKE IT. 99 Enter Cor in and Touchstone. CoTo And how like you this shepherd's life, Master Touchstone? Touch. Truly, shepherd, in respect of itself, it is a good life ; but in respect that it is a shep- 15 herd's life, it is naught. In respect that it is solitary, I like it very well ; but in respect that it is private, it is a very vile life. Now, in respect it is in the fields, it pleaseth me well ; but in respect it is not in the court, it so is tedious. As it is a spare life, look you, it fits my humour well ; but as there is no more plenty in it, it goes much against my stomach. Hast any philosophy in thee, shepherd? 25 Cor, No more but that I know the more one sickens the worse at ease he is ; and that he that wants money, means, and content is without three good friends; that the prop- erty of rain is to wet and fire to burn ; that 30 good pasture makes fat sheep, and that a great cause of the night is lack of the sun; that he that hath learned no wit by nature nor art may complain of good breeding or comes of a very dull kindred. 35 Touch. Such a one is a natural philosopher. Wast ever in court, shepherd? Cor. No, truly. Touch. Then thou art damned. Cor. Nay, I hope L.ofC 100 AS YOU LIKE IT. [Act III. Sc. ii. Touch. Truly, thou art damned, like an ill-roasted 40 egg all on one side. Cor. For not being at court? Your reason. Touch. Why, if thou never wast at court, thou never sawest good- manners; if thou never sawest good manners, then thy manners must 45 be wicked; and wickedness is sin, and sin is damnation. Thou art in a parlous state, / shepherd. Cor. Not a whit, Touchstone. Those that are good manners at the court are as ridiculous 50 in the country as the behaviour of the country is most mockable at the court. You told me you salute not at the court but you kiss your hands. That courtesy would be uncleanly, if courtiers were shepherds. 55 Touch. Instance, briefly; come, instance. Cor. Why, we are still handling our ewes, and their fells, you know, are greasy. Touch. Why, do not your courtier's hands sweat? And is not the grease of a mutton as whole- 60 some as the sweat of a man? Shallow, shal- low. A better instance, I say ; come. Cor. Besides, our hands are hard. Touch. Your lips will feel them the sooner. Shal- low again. A more sounder instance, come. 65 Cor. And they are often tarred over with the surgery of our sheep; and would you have us kiss tar? The courtier's hands are perfumed with civet. o Act III. So. ii.] AS YOU LIKE IT. 101 70 Touch. Most shallow man! thou worm's-meat, in respect of a good piece of flesh indeed! Learn of the wise, and perpend. Civet is of a baser birth than tar, the very uncleanly flux of a cat. Mend the instance, shepherd. 75 Cor. You have too courtly a wit for me. I'll rest. Touch. Wilt thou rest damned? God help thee, shallow man! God make incision in thee? Thou art raw. 80 Cor. Sir, I am a true labourer. I earn that I eat, get that I wear, owe no man hate, envy no man's happiness, glad of other men's good, content with my harm, and the greatest of my pride is to see my ewes graze and my 85 lambs suck. Here comes young Master Ganymede, my new mistress's brother. Enter Rosalind, with a paper, reading. Ros. From the east to western Ind, No jewel is like Rosalind. Her worth, being mounted on the wind, qq Through all the world bears Eosalind. All the pictures fairest lined Are but black to Rosalind. Let no face be kept in mind But the fair of Rosalind. 95 Touch. I'll rhyme you so eight years together, dinners and suppers and sleeping-hours 102 AS YOU LIKE IT. [Act III. Sc. ii. excepted. It is the right butter-women's rank to market. Bos. Out, fool! Touch. For a taste : — id If a hart do lack a hind, Let him seek out Eosalind. If the cat will after kind, So be sure will Eosalind. Winter garments must be lined, 105 So must slender Rosalind. They that reap must sheaf and bind, Then to cart with Eosalind. Sweetest nut hath sourest rind, Such a nut is Eosalind. 110 He that sweetest rose will find, Must find loye's prick and Eosalind. This is the very false gallop of verses. Why do you infect yourself with them? Bos. Peace, you dull fool ! I found them on a 115 tree. Touch. Truly, the tree yields bad fruit. Bos. I'll graff it with you, and then I shall graff it with a medlar. Then it will be the earliest fruit i' the country; for you'll be rotten ere 120 you be half ripe, and that's the right virtue of the medlar. Touch. You have said ; but whether wisely or no, let the forest judge. Act III. Sc. ii] AS YOU LIKE IT. 103 Enter Celia, with a ivriting. 125 Ros. Peace! Here comes my sister, reading; stand aside. Cel. [Reads. ,] Why should this a desert be? For it is unpeopled? No ! lso Tongues I'll hang on every tree, That shall civil sayings show : Some, how brief the life of man Euns his erring pilgrimage, That the stretchin^of_a_span 135 Buckles in his sum of age; Some, of violated vows 'Twixt the souls of friend and friend; But upon the fairest boughs, Or at every sentence end, 140 Will I Rosalinda write, Teaching all that read to know The quintessence of every sprite Heaven would in little show. Therefore Heaven Nature charged 145 That one body should be filled With all graces wide-enlarged. Nature presently distilled Helen's cheek, but not her heart, Cleopatra's majesty, 180 Atalanta's better part, Sad Lucretia's modesty*/ Thus Eosalind of many parts By heavenly synod was devised ;u 104 AS YOU LIKE IT. [Act III. Sc. ii. Of many faces, eyes, and hearts, To have the touches clearest prized. 155 Heaven would that she these gifts should have, And I to live and die her slave. Ros. O most gentle pulpiter ! what tedious homily of love have you wearied your parishioners withal, and never cried "Have patience, goodieo people!" Cel. How now! Back, friends! Shepherd, go off a little. Go with him, sirrah. Touch. Come, shepherd, let us make an honour- able retreat ; though not with bag and bag- 165 gage, yet with scrip and scrippage. [Exeunt Covin and Touchstone. Cel. Didst thou hear these verses? Ros. 0, yes, I heard them all, and more, too; for some of them had in them more feet than the verses would bear. 170 Cel. That's no matter. The feet might bear the verses. Ros. Ay, but the feet were lame and could not bear themselves without the verse and there- fore stood lamely in the verse. 175 Cel. But didst thou hear without wondering how thy name should be hanged and carved upon these trees? Ros, I was seven of the nine days out of the wonder before you came; for look hereiso Act III. Sc. ii.] AS YOU LIKE IT. 105 what I found on a palm tree. I was never so berhymed since Pythagoras' time, that I was an Irish rat, which I can hardly remember. 185 Cel. Trow you who hath done this? Eos. Is it a man? Cel. And a chain, that you once wore, about his neck. Change you colour? Eos. I prithee, who? 190 Cel. Lord, Lord ! it is a hard matter for friends to meet ; but mountains may be removed with earthquakes and so encounter. Eos. Nay, but who is it? Cel. Is it possible? ■mEos. Nay, I prithee now with most petitionary vehemence, tell me who it is. Cel. wonderful, wonderful, and most wonderful wonderful! and yet again wonderful, and after that, out of all hooping! 200 Eos. Good my complexion! clost thou think, - though I am caparisoned like a man, I have a doublet and hose in my disposition? One inch of delay more is a South-sea of discov- ery. I prithee, tell me who is it quickly, 205 and speak apace. I would thou couldst stammer, that thou might' st pour this con- cealed man out of thy mouth, as wine comes out of a narrow-mouthed bottle, either too much at once, or none at all. I prithee, 2io take the cork out of thy mouth that I may 108 AS YOU LIKE IT. [Act III. So. ii. drink thy tidings. ... Is he of God's making? What manner of man? Is his head worth a hat or his chin worth a beard? Gel. Nay, he hath but a little beard. Bos. Why, God will send more, if the man will 215 be thankful. Let me stay the growth of his beard, if thou delay me not the knowledge of his chin. Gel. It is young Orlando, that tripped up the wrestler's heels and your heart both in an 220 instant. Bos. Nay, but the devil take mocking. Speak sad brow and true maid. Gel. I' faith, coz, 'tis he. Bos. Orlando? 225 Gel. Orlando. Bos. Alas the day! what shall I do with my doublet and hose? What did he when thou sawest him? What said he? How looked he? W T herein went he? What makes he 230 here? Did he ask for me? Where remains he? How parted he with thee? And when shalt thou see him again? Answer me in one word. Gel. You must borrow me Gargantua's mouth 235 first. 'Tis a word too great for any mouth of this age's size. To say ay and no to these particulars is more than to answer in a cate- chism. Bos. But doth he know that I am in this forest 240 Act III. Sc. ii.] AS YOU LIKE IT. 107 and in man's apparel? Looks he as freshly as he did the day he wrestled? Cel. It is as easy to count atomies as to resolve the propositions of a lover. But take a taste 245 of my finding him, and relish it with good observance. I found him under a tree, like a dropped acorn. Eos. It may well be called Jove's tree, when it drops forth such fruit. 250 Cel. Give me audience, good madam. Eos. Proceed. Cel. There lay he, stretched along, like a wounded knight. Eos. Though it be pity to see such a sight, it 255 well becomes the ground. Cel. Cry " holla" to thy tongue, I prithee; it curvets unseasonably. He was furnished like a hunter. Eos. 0, ominous! he comes to kill my heart. 260 Cel. I would sing my song without a burden. Thou bringest me out of tune. Eos. Do you not know I am a woman? When I think, I must speak. Sweet, say on. Cel. You bring me out. Soft! comes he not 265 here? Enter Orlando and Jaques. Eos. 'Tis he. Slink by, and note him. Jaq. I thank you for your company; but, good faith, I had as lief have been myself alone. 108 AS YOU LIKE IT. [Act III. Sc. ii. Orl. And so had I ; but yet, for fashion sake, I thank you too for your society. 270 Jaq. God buy you; let's meet as little as we can. Orl. I do desire we may be better strangers. Jaq. I pray you, mar no more trees with writing love-songs in their barks. Orl. I pray you, mar no moe of my verses with 275 reading them ill-favouredly. Jaq. Eosalind is your love's name? Orl. Yes, just. Jaq. I do not like her name. Orl. There was no thought of pleasing you when 280 she was christened. Jaq. What stature is she of? Orl. Just as high as my heart. Jaq. Y r ou are full of pretty answers. Have you not been acquainted with goldsmiths' wives, 285 and conned them out of rings? Orl. Not so; but I answer you right painted cloth, from whence you have studied your questions. Jaq. You have a nimble wit. I think 'twas made 290 of Atalanta's heels. Will you sit down with me? and we two will rail against our mistress the world, and all our misery. Orl. I will chide no breather in the world but myself, against whom I know most faults. 295 Jaq. The worst fault you have is to be in love. Orl. 'Tis a fault I will not change for your best virtue. I am weary of you. Act III. So. ii.] AS YOU LIKE IT. 109 Jaq. By my troth, I was seeking for a fool when 300 I found you. Orl. He is drowned in the brook. Look but in, and you shall see him. Jaq. There I shall see mine own figure. Orl. Which I take to be either a fool or a cipher. 305 Jaq. I'll tarry no longer with you. Farewell, good Signior Love. Orl. I am glad of your departure. Adieu, good Monsieur Melancholy. [Exit Jaques. Eos. [Aside to Celia.] I will speak to him like a 310 saucy lackey, and under that habit play the knave with him. Do you hear, forester? Orl. Very well. What would you? Bos. I pray you, what is 't o'clock? Orl. You should ask me what time o' day. 815 There's no clock in the forest. Eos. Then there is no true lover in the forest ; else sighing every minute and groaning every hour would detect the lazy foot of Time as well as a clock. 820 Orl. And why not the swift foot of Time? Had not that been as proper? Eos. By no means, sir. Time travels in divers paces with divers persons. I'll tell you who Time ambles withal, who Time trots withal, 325 who Time gallops withal, and who he stands still withal. Orl. I prithee, who doth he trot withal? Eos. Marry, he trots hard with a young maid 110 AS YOU LIKE IT. [Act III. Sc. ii between the contract of her marriage and the day it is solemnized. If the interim be but 330 a se'nnight, Time's pace is so hard that it seems the length of seven year. Orl . Who ambles Time withal? Bos. With a priest that lacks Latin, and a rich man that hath not the gout; for the one 335 sleeps easily because he cannot study, and the other lives merrily because he feels no pain ; the one lacking the burden of lean and wasteful learning, the other knowing no burden of heavy tedious penury. These 340 Time ambles withal. Orl. Who doth he gallop withal? Bos. With a thief to the gallows ; for though he go as softly as foot can fall, he thinks himself too soon there. 345 Orl. Who stays it still withal? Bos. With lawyers in the vacation ; for they sleep between term and term and then they perceive not how Time moves. Orl. Where dwell you, pretty youth? 350 Bos. With this shepherdess, my sister; here in the skirts of the forest, like fringe upon a petticoat. ; Orl. Are you native of this place? Bos. As the cony that you see dwell where she is kindled. 355 Orl. Your accent is something finer than you could purchase in so removed a dwelling. Bos. I have been told so of many ; but indeed an Act III. Sc. ii.] AS YOU LIKE IT. Ill old religious uncle of mine taught me to 360 speak, who was in his youth an inland man; one that knew courtship too well, for there he fell in love. I have heard him read many lectures against it, and I thank God I am not a woman, to be touched with so many giddy 365 offences as he hath generally taxed their whole sex withal. Orl. Can you remember any of the principal evils that he laid to the charge of women? Eos. There were none principal; they were all 370 like one another as half -pence are, every one fault seeming monstrous till his fellow -fault came to match it. Orl. I prithee, recount some of them. Eos. No, I will not cast away my physic but on 375 those that are sick. There is a man haunts the forest, that abuses our young plants with carving Eosalind on their barks ; hangs odes upon hawthorns and elegies on brambles ; all, forsooth, deifying the name of Eosalind. If 380 I could meet that fancy-monger, I would give him some good counsel, for he seems to have the quotidian of love upon him. Orl. I am he that is so love-shaked. I pray you, tell me your remedy. 85 Eos. There is none of my uncle's marks upon you. He taught me how to know a man in love, in which cage of rushes I am sure you are not prisoner. 112 AS YOU LIKE IT. [Act III. So. ii. Orl. What were his marks? Ros. A lean cheek, which you have not; a blue 890 eye and sunken, which you have not; an unquestionable spirit, which you have not; a beard neglected, which you have not; but I pardon you for that, for simply your having in beard is a younger brother's revenue. 395 Then your hose should be ungartered, your bonnet unhanded, your sleeve unbuttoned, your shoe untied, and every thing about you demonstrating a careless desolation. But you are no such man ; you are rather point- 400 device in your accoutrements, as loving yourself than seeming the lover of any other. Orl. Fair youth, I would I could make thee believe I love. Ros. Me believe it ! you may as soon make her 405n that you love believe it; which, I warrant, she is apter to do than to confess she does. That is one of the points in the which women still give the lie to their consciences. But, in good sooth, are you he that hangs the 410: verses on the trees, wherein Eosalind is so admired? Orl I swear to thee, youth, by the white hand of Eosalind, I am that he, that unfortunate he. Ros. But are you so much in love as your rhymes 1 speak? Orl. Neither rhyme nor reason can express how much. ACT III. Sc. v.] AS YOU LIKE IT. 127 I love him not nor hate him not ; and yet I have more cause to hate him than to love him; For what had he to do to chide at me? 9 He said mine eyes were black and my hair black ; And, now I am remembered, scorned at me. I marvel why I answered not again. But that's all one; omittance is no quittance. I'll write to him a very taunting letter, 5 And thou shalt bear it ; wilt thou, Silvius? 1 Sil. Phebe, with all my heart. Phe. I'll write it straight. The matter's in my head and in my heart. I will be bitter with him and passing short. Go with me, Silvius. [Exeunt. ACT FOURTH. Scene I. The forest. Enter Rosalind, Delia, and Jaques. Jaq. I prithee, pretty youth, let me be better acquainted with thee. Eos. They say you are a melancholy fellow. Jaq. I am so ; I do love it better than laughing. Bos. Those that are in extremity of either ares abominable fellows, and betray themselves to every modern censure worse than drunkards. Jaq. Why, 'tis good to be sad and say nothing. Eos. Why then, 'tis good to be a post. Jaq. I have neither the scholar's melancholy, 10 which is emulation; nor the musician's, which is fantastical; nor the courtier's, which is proud; nor the soldier's, which is ambitious; nor the lawyer's, which is politic; nor the lady's, which is nice ; nor the lover's, 15 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 Act III. Sc. ii.] AS YOU LIKE IT. 113 Eos. Love is merely a madness, and, I tell you, 420 deserves as well a dark house and a whip as madmen do; and the reason why they are not so punished and cured is, that the lunacy is so ordinary that the whippers are in love too. Yet I profess curing it by counsel. 425 Orl. Did you ever cure any so? Eos. Yes, one, and in this manner. He was to imagine me his love, his mistress, and I set him every day to woo me; at which time would I, being but a moonish youth, grieve, 430 be effeminate, changeable, longing and liking; proud, fantastical, apish, shallow, inconstant, full of tears, full of smiles; for every passion something and for no passion truly any thing, as boys and women are for 435 the most part cattle of this colour; would now like him, now loathe him ; then enter- tain him, then forswear him ; now weep for him, then spit at him; that I drave my suitor from his mad humour of love to a 440 living humour of madness; which was, to forswear the full stream of the world and to live in a nook, merely monastic. And thus I cured him ; and this way will I take upon me to wash your liver as clean as a sound 445 sheep's heart, that there shall not be one spot of love in't. Orl. I would not be cured, youth. Eos. I would cure you, if you would but call mo 114 AS YOU LIKE IT. [Act III. Sc. iii. Eosalind and come every day to my cote and woo me. 450 Orl. Now, by the faith of my love, I will. Tell me where it is. Eos. Go with me to it and I'll show it you; and by the way you shall tell me where in the forest you live. Will you go? 455 Orl. With all my heart, good youth. Eos. Nay, you must call me Eosalind. Come, sister, will you go? [Exeunt. SOEKE III. The forest. Enter Touchstone and Audrey; Jaques behind. Touch. Come apace, good Audrey. I will fetch up your goats, Audrey. And how, Audrey? Am I the man yet? Doth my simple feature content you? Aud. Your features! Lord warrant us! what 5 features? Touch. I am here with thee and thy goats, as the most capricious poet, honest Ovid, was among the Goths. Jaq. [Aside.'] knowledge ill-inhabited, worse 10 than Jove in a thatched house ! Touch. When a man's verses cannot be under- stood, nor a man's good wit seconded with Act III. Sc. iii.] AS YOU LIKE IT. 115 the forward child, understanding, it strikes 15 a man more dead than a great reckoning in a little room. Truly, I would the gods had made thee poetical. Aud. I do not know what "poetical" is. Is it honest in deed and word? Is it a true thing? 20 Touch. No, truly; for the truest poetry is the most feigning; and lovers are given to poetry, and what they swear in poetry may be said as lovers they do feign. Aud. Do you wish then that the gods had made 25 me poetical? Touch. I do, truly ; for thou swearest to me thou art honest. Now, if thou wert a poet, I might have some hope thou didst feign. Aud. Would you not have me honest? 80 Touch. No, truly, unless thou wert hard-favoured ; for honesty coupled to beauty is to have honey a sauce to sugar. Jaq. [Aside. ] A material fool! Aud. Well, I am not fair; and therefore I pray 35 the gods make me honest. Touch. Truly, and to cast away honesty upon a foul slut were to put good meat into an unclean dish. Aud. I am not a slut, though I thank the gods I 40 am foul. Touch. Well, praised be the gods for thy foul- ness! Sluttishness may come hereafter. But be it as it may be, I will marry thee, 116 AS YOU LIKE IT. [Act III. So. iii. and to that end I have been with Sir Oliver Martext, the vicar of the next village, who 45 hath promised to meet me in this place of the forest and to couple us. Jaq. [Aside.] I would fain see this meeting. Aud. Well, the gods give us joy! Touch. Amen. A man may, if he were of a 50 fearful heart, stagger in this attempt; for here we have no temple but the wood, no assembly but horn-beasts. But what though? Courage! As horns are odious, they are necessary. It is said, "Many a man knows 55 no end of his goods." Eight; many a man has good horns, and knows no end of them. Well, that is the dowry of his wife; 'tis none of his own getting. Horns? — even so. Poor men alone? No, no; the noblest deer hath.60 them as huge as the rascal. Is the single man therefore blessed? No: as a walled town is more worthier than a village, so is the forehead of a married man more honour- able than the bare brow of a bachelor ; and 65 by how much defence is better than no skill, by so much is a horn more precious than to want. Here comes Sir Oliver. Enter Sir Oliver Martext. Sir Oliver Martext, you are well met. Will you dispatch us here under this tree, or shall 70 we go with you to your chapel? Sir Oli. Is there none here to give the woman? Act III. Sc. iii.] AS YOU LIKE IT. 117 Touch. I will not take her on gift of any man. Sir 01%. Truly, she must be given, or the marriage 75 is not lawful. Jaq. Proceed, proceed. I'll give her. Touch. Good even, good Master What-ye-call-'t; how do you, sir? You are very well met. God 'ild you for your last company. I am so very glad to see you. Even a toy in hand here, sir. Nay, pray be covered. Jaq. Will you be married, motley? Touch. As the ox hath his bow, sir, the horse his curb, and the falcon her bells, so man hath 85 his desires; and as pigeons bill, so wedlock would be nibbling. Jaq. And will you, being a man of your breeding, be married under a bush like a beggar? Get you to church, and have a good priest that 90 can tell you what marriage is. This fellow will but join you together as they join wainscot; then one of you will prove a shrunk panel, and like green timber warp, warp. 95 Touch. [Aside.'] I am not in the mind but I were better to be married of him than of another ; for he is not like to marry me well ; and not being well married, it will be a good excuse for me hereafter to leave my wife. ioo Jaq. Go thou with me, and let me counsel thee. Touch. Come, sweet Audrey: We must be married. . . . 118 AS YOU LIKE IT. [Act. III. Sc. iv. Farewell, good Master Oliver: not, — sweet Oliver, brave Oliver, i« Leave me not behind thee; but, — Wind away, Begone, I say, I will not to wedding with thee. no [Exeunt Jaques, Touchstone, and Audrey. Sir Oli. 'Tis no matter. Ne'er a fantastical knave of them all shall flout me out of my calling. [Exit. Scene IV. The forest. Enter Rosalind and Celia. Eos. Never talk to me ; I will weep. Gel. Do, I prithee; but yet have the grace to consider that tears do not become a man. Eos. But have I not cause to weep? Gel. As good cause as one would desire; therefore 5 weep. Eos. His very hair is of the dissembling colour. Gel. Something browner than Judas's. Marry, his kisses are Judas's own children. Eos. F faith, his hair is of a good colour. io Act III. Sc. iv.] AS YOU LIKE IT. 119 Cel. An excellent colour. Your chestnut was ever the only colour. Eos. And his kissing is as full of sanctity as the touch of holy bread. is Cel. He hath bought a pair of cast lips of Diana. A nun of winter's sisterhood kisses not more religiously. The very ice of chastity is in them. Eos. But why did he swear he would come this morning, and comes not? 20 Cel. Nay, certainly, there is no truth in him. Eos. Do you think so? , Cel. Yes ; I think he is not a pick-purse nor a horse-stealer; but for his verity in love, I do think him as concave as a covered goblet or 25 a worm-eaten nut. Eos. Not true in love? Cel. Yes, when he is in ; but I think he is not in. Eos. You have heard him swear downright he was. so Cel. "Was" is not "is." Besides, the oath of a lover is no stronger than the word of a tapster ; they are both the confirmer of false reckonings. He attends here in the forest on the Duke your father. 35 Eos. I met the Duke yesterday and had much question with him. He asked me of what parentage I was. I told him, of as good as he; so he laughed and let me go. But what talk we of fathers, when there is such a man 40 as Orlando? 120 AS YOU LIKE IT. [Act III. Sc. iv. Gel. 0, that's a brave man! He writes brave verses, speaks brave words, swears brave oaths and breaks them bravely, quite traverse, athwart the heart of his lover; as a puisny tilter, that spurs his horse but on one 45 side, breaks his staff like a noble goose. But all's brave that youth mounts and folly guides. Who comes here? Enter Covin. Cor. Mistress and master, you have oft inquired After the shepherd that complained of love, 50 Who you saw sitting by me on the turf, Praising the proud disdainful shepherdess That was his mistress. Cel. Well, and what of him? Cor. If you will see a pageant truly played, Between the pale complexion of true love 55 And the red glow of scorn and proud disdain, Go hence a little and I shall conduct you, If you will mark it. Eos. 0, come, let us remove. The sight of lovers feedeth those in love. Bring us to this sight, and you shall say 60 I'll prove a busy actor in their play. [Exeunt. Act III. Sc. v.] AS YOU LIKE IT. 121 Scene V. Another part of the forest. Enter Silvius and Phebe. Sil. Sweet Phebe, do not scorn me; do not, Phebe. Say that you love me not, but say net so In bitterness. The common executioner, Whose heart the accustomed sight of death makes hard, 5 Falls not the axe upon the humbled neck But first begs pardon. Will you sterner be Than he that dies and lives by bloody drops? Enter Rosalind ', Celia, and Corin, behind. Phe. I would not be thy executioner. I fly thee, for I would not injure thee. 10 Thou tell'st me there is murder in mine eye. 'Tis pretty, sure, and very probable, That eyes, that are the frail' st and softest things, Who shut their coward gates on atomies, Should be called tyrants, butchers, mur- derers ! 15 Now I do frown on thee with all my heart ; And if mine eyes can wound, now let them kill thee. 122 AS YOU LIKE IT. [Act III. Sc. v. Now counterfeit to swoon; why, now fall down; Or if thou canst not, 0, for shame, for shame, Lie not, to say mine eyes are murderers! Now show the wound mine eye hath made in 20 thee. Scratch thee but with a pin, and there remains Some scar of it ; lean but upon a rush, The cicatrice and capable impressure Thy palm some moment keeps; but now mine eyes, Which I have darted at thee, hurt thee 25 not, Nor, I am sure, there is no force in eyes That can do hurt. Sil. dear Phebe, If ever, — as that ever may be near — You meet in some fresh cheek the power of fancy, Then shall you know the wounds invisible 30 That love's keen arrows make. Plie. But till that time Come not thou near me ; and when that time comes, Afflict me with thy mocks, pity me not, As till that time I shall not pity thee. Bos. And why, I pray you? Who might be your 35 mother, That you insult, exult, and all at once, Act III. Sc. v.] AS YOU LIKE IT. 123 Over the wretched? What though you have no beauty, — As, by my faith, I see no more in you Than without candle may go dark to bed — 40 Must you be therefore proud and pitiless? Why, what means this? Why do you look on me? I see no more in you than in the ordinary Of nature's sale-work. 'Od's my little life, I think she means to tangle my eyes too ! 45 No, faith, proud mistress, hope not after it. 'Tis not your inky brows, your black silk hair, Your bugle eyeballs, nor your cheek of cream, That can entame my spirits to your worship. You foolish shepherd, wherefore do you fol- low her, 50 Like foggy south, puffing with wind and rain? You are a thousand times a properer man Than she a woman. 'Tis such fools as you That makes the world full of ill-favoured children. 'Tis not her glass, but you, that natters her; 55 And out of you she sees herself more proper Than any of her lineaments can show her. But, mistress, know yourself. Down on your knees, And thank heaven, fasting, for a good man's love; 124 AS YOU LIKE IT. [Act III. Sc. v. For I must tell yon friendly in yonr ear, Sell when yon can. Yon are not for all6o markets. Cry the man mercy ; love him ; take his offer. Foul is most foul, being fonl to be a scoffer. So take her to thee, shepherd. Fare yon well. Plie. Sweet yonth, I pray yon, chide a year together. I had rather hear yon chide than this man 65 woo. Bos. He's fallen in love with your foulness, and she'll fall in love with my anger. If it be so, as fast as she answers thee with frowning looks, I'll sauce her with bitter words. Why look you so upon me? 70 Phe. For no ill will I bear you. Bos. I pray you, do not fall in love with me, For I am falser than vows made in wine. Besides, I like you not. If you will know my house, 'Tis at the tuft of olives here hard by. 75 Will you go, sister? Shepherd, ply her hard. Come, sister. Shepherdess, look on him better, And be not proud. Though all the world could see, None could be so abused in sight as he. Come, to our flock. so \Exeunt Bosalind, Celia, and Covin, Act III. Sc. v.] AS YOU LIKE IT. 125 Phe. Dead shepherd, now I find thy saw of might, "Who ever loved that loved not at first sight?" Sil. Sweet Phebe, Phe. Ha, what say'st thou, Silvius? Sil. Sweet Phebe, pity me. &Phe. Why, I am sorry for thee, gentle Silvius. Sil. Wherever sorrow is, relief would be. If you do sorrow at my grief in love, By giving love, your sorrow and my grief Were both extermined. 90 Phe. Thou hast my love. Is not that neigh- bour^? Sil. I would have you. Phe. Why, that were covetousness. Silvius, the time was that I hated thee, And yet it is not that I bear thee love; But since that thou canst talk of love so well, 95 Thy company, which erst was irksome to me, I 'will endure, and I'll employ thee too. But do not look for further recompense Than thine own gladness that thou art employed. Sil. So holy and so perfect is my love, .oo And I in such a poverty of grace, That I shall think it a most plenteous crop To glean the broken ears after the man That the main harvest reaps. Loose now and then A scattered smile, and that I'll live upon. 126 AS YOU LIKE IT. [Act III. Sc. v Phe. Know'st thou the youth that spoke to me 105 erewhile? Sit. Not very well, but I have met him oft ; And he hath bought the cottage and the bounds That the old carlot once was master of. Phe. Think not I love him, though I ask for him ; 'Tis but a peevish boy; yet he talks well. 110 But what care I for words? Yet words do well When he that speaks them pleases those that hear. It is a pretty youth ; not very pretty ; But, sure, he's proud, and yet his pride becomes him. He'll make a proper man. The best thing 115 in him Is his complexion ; and faster than his tongue Did make offence his eye did heal it up He is not very tall ; yet for his years he's tall His leg is but so so ; and yet 'tis well. There was a pretty redness in his lip, A little riper and more lusty red Than that mixed in his cheek ; 'twas just the difference Betwixt the constant red and mingled damask. There be some women, Silvius, had they marked him In parcels as I did, would have gone near iss To fall in love with him ; but, for my part, Act IV. Sc. i.] AS YOU LIKE IT. 129 20 my often rumination wraps me in a most humorous sadness Eos. A traveller ! By my faith, you have great reason to be sad. I fear you have sold your own lands to see other men's; then, to have 25 seen much, and to have nothing, is to have rich eyes and poor hands. Jaq. Yes, I have gained my experience. Eos. And your experience makes you sad. I had rather have a fool to make me merry than 30 experience to make me sad ; and to travel for it too ! Enter Orlando. Orl. Good-day and happiness, dear Eosalind! Jaq. Nay, then, God buy you, an you talk in blank verse. [Exit. & Eos. Farewell, Monsieur Traveller. Look you lisp and wear strange suits, disable all the benefits of your own country, be out of love with your nativity, and almost chide God for making you that countenance you are, or I 40 will scarce think you have swam in a gon- dola. Why, how now, Orlando! Where have you been all this while? You a lover ! An you serve me such another trick, never come in my sight more. 45 Orl. My fair Eosalind, I come within an hour of my promise. Eos. Break an hour's promise in love! He that will divide a minute into a thousand parts, 130 AS YOU LIKE IT. [Act. IV. Sc. i. and break but a part of the thousandth part of a minute in the affairs of love, it may beso said of him that Cupid hath clapped him o' the shoulder, but I'll warrant him heart- whole. Orl. Pardon me, dear Rosalind. Ros. Nay, an you be so tardy, come no more in 55 my sight. I had as lief be wooed of a snail. Orl. Of a snail? Ros. Ay, of a snail ; for though he comes slowly, he carries his house on his head; a better jointure, I think, than you make a woman. 60 Besides, he brings his destiny with him. Orl. What's that? Ros. Why, horns, which such as you are fain to be beholding to your wives for. But he comes armed in his fortune and prevents the 65 slander of his wife. Orl. Virtue is no horn-maker; and my Eosalind is virtuous. Ros. And I am your Rosalind. Gel. It pleases him to call you so ; but he hath a 70 Rosalind of a better leer than you. Ros. Come, woo me, woo me ; for now I am in a holiday humour and like enough to consent. What would you say to me now, an I were your very very Rosalind? 75 Orl. I would kiss before I spoke. Ros. Nay, you were better speak first ; and when you were gravelled for lack of matter, you Act IV. So. i.] AS YOU LIKE IT. 131 might take occasion to kiss. Very good 80 orators, when they are out, they will spit ; and for lovers lacking — God warn us! — matter, the cleanliest shift is to kiss. Orl. How if the kiss be denied? Eos. Then she puts you to entreaty and there 85 begins new matter. Orl. Who could be out, being before his beloved mistress? Eos. Marry, that should you, if I were your mistress, or I should think my honesty ranker 90 than my wit. Orl. What, of my suit? Eos. Not out of your apparel, and yet out of your suit. Am not I your Rosalind? Orl. I take some joy to say you are, because I 95 would be talking of her. Eos. Well, in her person, I say I will not have you. Orl. Then in mine own person I die. Eos. No, faith, die by attorney. The poor world loo is almost six thousand years old, and in all this time there was not any man died in his own person, videlicet, in a love-cause. Troi- lns had his brains dashed out with a Grecian club ; yet he did what he could to die before, 105 and he is one of the patterns of love. Leander, he would have lived many a fair year, though Hero had turned nun, if it had not been for a hot mid-summer night; for, 132 AS YOU LIKE IT. [Act IV. Sc. i. good youth, he went but forth to wash him in the Hellespont and being taken with the no cramp was drowned ; and the foolish chroni- clers of that age found it was — Hero of Sestos. But these are all lies. Men have died from time to time and worms have eaten them, but not for love. 115 Orl. I would not have my right Eosalind of this mind ; for, I protest, her frown might kill me. Eos. By this hand, it will not kill a fly. But come, now I will be your Eosalind in a more coming-on disposition, and ask me what you 120 will, I will grant it. Orl. Then love me, Rosalind. Eos. Yes, faith, will I, Fridays and Saturdays and all. Orl. And wilt thou have me? 135 Eos. Ay, and twenty such. Orl. What sayest thou? Eos. Are you not good? Orl. I hope so. Eos. Why then, can one desire too much of a 130 1 good thing? Come, sister, you shall be the priest and marry us. Give me your hand, Orlando. What do you say, sister? Orl. Pray thee, marry us. Gel. I cannot say the words. 135 Eos. You must begin, "Will yon, Orlando " Gel. Go to. Will you, Orlando, have to wife this Rosalind? Act IV. So. i.] AS YOU LIKE IT. 133 Orl. I will. 140 Eos. Ay, but when? Orl. Why now ; as fast as she can marry us. Eos. Then you must say, "I take thee, Eosalind, for wife." Orl. I take thee, Eosalind, for wife. 145 Eos. I might ask you for your commission ; but I do take thee, Orlando, for my husband. There's a girl goes before the priest; and certainly a woman's thought runs before her actions. 150 Orl. So do all thoughts ; they are winged. Eos. Now tell me how long you would have her after you have possessed her. Orl. For ever and a day. Eos. Say "a day," without the "ever." No, no, 155 Orlando. Men are April when they woo, December when they wed; maids are May when they are maids, but the sky changes when they are wives. I will be more jealous of thee than a Barbary cock-pigeon over his 160 hen, more clamorous than a parrot against rain, more new-fangled than an ape, more giddy in my desires than a monkey. I will weep for nothing, like Diana in the fountain, and I will do that when you are disposed to 165 be merry ; I will laugh like a hyen, and that when thou art inclined to sleep. Orl. But will my Eosalind do so? Eos. By my life, she will do as I do. 134 AS YOU LIKE IT. [Act IV. Sc. i. Orl. 0, but she is wise. Eos. Or else she could not have the wit to doi70 this. The wiser, the waywarder. Make the doors upon a woman's wit and it will out at the casement; shut that and 'twill out at the key-hole ; stop that, 'twill fly with the smoke out at the chimney. 175 Orl. A man that had a wife with such a wit, he might say, "Wit, whither wilt?" Eos. You shall never take her without her answer, unless you take her without her tongue. 0, that woman that cannot makeiso her fault her husband's occasion, let her never nurse her child herself, for she will breed it like a fool ! Orl. For these two hours, Rosalind, I will leave thee. 185 Eos. Alas, dear love, I cannot lack thee two hours ! Orl. I must attend the Duke at dinner. By two o'clock I will be with thee again. Eos. Ay, go your ways, go your ways; I knewi90 what you would prove. My friends told me as much, and I thought no less. That flat- tering tongue of yours won me. 'Tis but one cast away, and so, come, death! Two o'clock is your hour? 195 Orl. Ay, sweet Eosalind. Eos. By my troth, and in good earnest, and so Act IV. Sc. i.] AS YOU LIKE IT. 135 God mend me, and by all pretty oaths that are not dangerous, if you break one jot of your promise or come one minute behind your hour, I will think you the most pathetical break-promise, and the most hollow lover, and the most unworthy of her you call Eosalind, that may be chosen out of the gross band of the unfaithful ; therefore beware my censure and keep your promise. Orl. With no less religion than if thou wert indeed my Eosalind; so adieu. Eos. Well, Time is the old justice that examines all such offenders, and let Time try. Adieu. [Exit Orlando. Gel. You have simply misused our sex in your love -prate. We must have your doublet and hose plucked over your head, and show the world what the bird hath done to her own nest. Bos. coz, coz, coz, my pretty little coz, that thou didst know how many fathom deep I am in love! But it cannot be sounded. My affection hath an unknown bottom, like the bay of Portugal. Cel. Or rather, bottomless; that as fast as you pour affection in, it runs out. Eos. No, that same wicked bastard of Venus that was begot of thought, conceived of spleen, and born of madness, that blind rascally boy that abuses every one's eyes 136 AS YOU LIKE IT. [Act IV. Sc. ii. because his own are out, let him be judge how deep I am in love. I'll tell thee, Aliena, I cannot be out of the sight of Orlando. I'll go find a shadow and sigh till he come. 230 Cel. And I'll sleep. [Exeunt. Sceke II. The forest. Enter Jaques, Lords, and Foresters. Jaq. Which is he that killed the deer? A Lord. Sir, it was I. Jaq. Let's present him to the Duke, like a Eoman conqueror; and it would do well to set the deer's horns upon his head, for a 5 branch of victory. Have you no song, for- ester, for this purpose? For. Yes, sir. Jaq. Sing it. 'Tis no matter how it be in tune, so it make noise enough. 10 S02sTG. For. What shall he have that killed the deer? His leather skin and horns to wear. Then sing him home. [The rest shall dear this burden. Take thou no scorn to wear the horn ; Act IV. Sc. iii] AS YOU LIKE IT. 137 It was a crest ere thou wast born ; Thy father's father wore it, And thy father bore it. The horn, the horn, the lusty horn Is not a thing to laugh to scorn. [Exeunt. Sceke III. The forest. Enter Rosalind and Celia. Eos. How say you now? Is it not past two o'clock? And here much Orlando! Cel. 1 warrant you, with pure love and troubled brain, he hath ta'en his bow and arrows and 5 is gone forth — to sleep. Look, who comes here. Enter Silvius. Sil. My errand is to you, fair youth ; My gentle Phebe bid me give you this. I know not the contents ; but, as I guess 10 By the stern brow and waspish action "Which she did use as she was writing of it, It bears an angry tenour. Pardon me, I am but as a guiltless messenger. Ros. Patience herself would startle at this letter 15 And play the swaggerer. Bear this, bear all. She says I am not fair, that I lack manners ; 138 AS YOU LIKE IT. [Act IV. Sc. iii. She calls me proud, and that she could not love me, Were man as rare as phoenix. 'Od's my will! Her love is not the hare that I do hunt. Why writes she so to me? Well, shepherd, 20 well, This is a letter of your own device. Sil. No, I protest, I know not the contents. Phebe did write it. Ros. Come, come, you are a fool, And turned into the extremity of love. I saw her hand ; she has a leathern hand, 25 A freestone-coloured hand; I verily did think That her old gloves were on, but 'twas her hands ; She has a huswife's hand; but that's no matter. I say she never did invent this letter; This is a man's invention and his hand. 30 Sil. Sure, it is hers. Eos. Why, 'tis a boisterous and a cruel style, A style for challengers ; why, she defies me, Like Turk to Christian. Women's gentle brain Could not drop forth such giant-rude 35 invention, Such Ethiope words, blacker in their effect Than in their countenance. Will you hear the letter? Sil. So please you, for I never heard it yet; Act IV. Sc. iii] AS YOU LIKE IT. 139 Yet heard too much of Phebe's cruelty. ioRos. She Phebes me. Mark how the tyrant writes. [Reads.] "Art thou god to shepherd turned, That a maiden's heart hath burned?" Can a woman rail thus? Sil Call you this railing? Ros. [Reads.] 45 "Why, thy godhead laid apart, Warr'st thou with a woman's heart?" Did you ever hear such railing? " Whiles the eye of man did woo me, That could do no vengeance to me." 50 Meaning me a beast. "If the scorn of your bright eyne Have power to raise such love in mine, Alack, in me what strange effect Would they work in mild aspect ! 55 Whiles you chid me, I did love ; How then might your prayers move ! He that brings this love to thee Little knows this love in me ; And by him seal up thy mind, 60 Whether that thy youth and kind Will the faithful offer take Of me and all that I can make ; Or else by him my love deny, And then I'll study how to die." 65 Sil. Call you this chiding? Cel. Alas, poor shepherd! 140 AS YOU LIKE IT. [Act IV. Sc. iii. Eos. Do you pity him? No, he deserves no pity. Wilt thou love such a woman? What, to make thee an instrument and play false strains upon thee! Not to be endured !70 Well, go your way to her — for I see love hath made thee a tame snake — and say this to her: that if she loves me, I charge her to love thee; if she will not, I will never have her unless thou entreat for her. If you be a 75 true lover, hence, and not a word; for here comes more company. [Exit Silvius. Enter Oliver. ■OIL Good morrow, fair ones. Pray you, if you know, Where in the purlieus of this forest stands A sheep-cote fenced about with olive-trees? so Gel. West of this place, down in the neighbour bottom. The rank of osiers by the murmuring stream Left on your right hand brings you to the place. . But at this hour the house doth keep itself; There's none within. 85 Oli. If that an eye may profit by a tongue, Then should I know you by description; Such garments and such years. "The boy is fair, Of female favour, and bestows himself Like a ripe sister ; the woman low, 90 And browner than her brother. ' ' Are not you Act IV. Sc. ill] AS YOU LIKE IT 141 The owner of the house I did enquire for? Gel. It is no boast, being asked, to say we are. Oli. Orlando doth commend him to you both, And to that youth he calls his Rosalind He sends this bloody napkin. Are you he? Ros. I am. What must we understand by this? Oli. Some of my shame, if you will know of me What man I am, and how, and why, and where This handkercher was stained. I pray you, tell it. When last the young Orlando parted from you He left a promise to return again Within an hour; and pacing through the forest, Chewing the food of sweet and bitter fancy, Lo, what befel ! He threw his eye aside, And mark what object did present itself. Under an oak, whose boughs were mossed with age And high top bald with dry antiquity, A wretched ragged man, o'ergrown with hair, Lay sleeping on his back. About his neck A green and gilded snake had wreathed itself, Who with her head nimble in threats approached The opening of his mouth ; but suddenly, Seeing Orlando, it unlinked itself, And with indented glides did slip away 142 AS YOU LIKE IT. [Act IV. Sc. iii. Into a bush; under which bush's shade A lioness, with udders all drawn dry, Lay couching, head on ground, with catlike watch, When that the sleeping man should stir ; for 'tis The royal disposition of that beast iso To prey on nothing that doth seem as dead. This seen, Orlando did approach the man And found it was his brother, his elder brother. Gel. 0, I have heard him speak of that same brother ; And he did render him the most unnatural 125 That lived amongst men. GIL And well he might so do, For well I know he was unnatural. Eos. But, to Orlando. Did he leave him there, Food to the sucked and hungry lioness? Oil. Twice did he turn his back and purposed so ; iso But kindness, nobler ever than revenge, And nature, stronger than his just occasion, Made him give battle to the lioness, Who quickly fell before him; in which hurtling From miserable slumber I awaked. 135 Gel. Are you his brother? Eos. Was't you he rescued? Gel, Was't you that did so oft contrive to kill him? Act IV. Sc. iii.] AS YOU LIKE IT. 143 Oli. 'Twas I; but 'tis not I. I do not shame To tell you what I was, since my conversion 140 So sweetly tastes, being the thing I am. Bos. But, for the bloody napkin? Oli. By and by. When from the first to last betwixt us two Tears our recountments had most kindly bathed, As how I came into that desert place; 145 In brief, he led me to the gentle Duke, Who gave me fresh array and entertainment, Committing me unto my brother's love; Who led me instantly unto his cave, There stripped himself, and here upon his arm i The lioness had torn some flesh away, Which all this while had bled; and now he fainted And cried, in fainting, upon Eosalind. Brief, I recovered him, bound up his wound \ And, after some small space, being strong at heart, He sent me hither, stranger as I am, To tell this story, that you might excuse His broken promise, and to give this napkin, Dyed in his blood, unto the shepherd youth That he in sport doth call his Eosalind. [Eosalind sivoons. \Cel. Why, how now, Ganymede! sweet Gany- mede ! 144 AS YOU LIKE IT. [Act IV. go. iii. Oli. Many will swoon when they do look on blood. Cel. There is more in it. Cousin Ganymede! Oli. Look, he recovers. Eos. I would I were at home. Cel. We'll lead you thither. I pray you, will you take him by the arm? ies OIL Be of good cheer, youth. You a man! You lack a man's heart. Eos. I do so, I confess it. Ah, sirrah, a body would think this was well counterfeited! I pray you, tell your brother how well I coun- 170 terf eited. Heigh-ho ! Oli. This was not counterfeit. There is too great testimony in your complexion that it was a passion of earnest. Eos. Counterfeit, I assure you. i75 v Oli. Well then, take a good heart and counterfeit to be a man. Eos. So I do. But, i' faith, I should have been a woman by right. Cel. Come, you look paler and paler. Pray you, iso draw homewards. Good sir, go with us. Oli. That will I, for I must bear answer back How you excuse my brother, Eosalind. Eos. I shall devise something ; but, I pray you, commend my counterfeiting to him. Willi85 you go? [Exeunt. ACT FIFTH. SCENE I. Tlie forest. Enter Touchstone and Audrey. Touch. We shall find a time, Audrey; patience, gentle Audrey. Aud. Faith, the priest was good enough, for all the old gentleman's saying. 5 Touch. A most wicked Sir Oliver, Audrey, a most vile Martext. But, Audrey, there is a youth here in the forest lays claim to you. Aud. Ay, I know who 'tis; he hath no interest in me in the world. Here comes the man you 10 mean. Touch. It is meat and drink to me to see a clown. By my troth, we that have good wits have much to answer for ; we shall be flouting ; we cannot hold. Enter William. 15 Will. Good even, Audrey. Aud. God ye good even, William. Will. And good even to you, sir. Touch. Good even, gentle friend. Cover thy 145 146 AS YOU LIKE IT. [Act V. So. i. head, cover thy head; nay, prithee, be covered. How old are you, friend? 20 Will. Five and twenty, sir. Touch. A ripe age. Is thy name "William? Will. William, sir. Touch. A fair name. Was 't born i' the forest here? Will. Ay, sir, I thank God. 25 Touch. "Thank God" — a good answer. Art rich? Will. Faith, sir, so so. Touch. "So so" is good, very good, very excellent good ; and yet it is not ; it is but so so. Art thou wise? 30 Will. Ay, sir, I have a pretty wit. Touch. Why, thou say est well. I do now remem- ber a saying, "The fool doth think he is wise, but the wise man knows himself to be a fool." The heathen philosopher, when he 35 had a desire to eat a grape, would open his lips when he put it into his mouth ; meaning thereby that grapes were made to eat and lips to open. You do love this maid? Will. I do, sir. 40 Touch. Give me your hand. Art thou learned? Will. No, sir. Touch. Then learn this of me: to have, is to have ; for it is a figure in rhetoric that drink, being poured out of a cup into a glass, by 45 filling the one doth empty the other ; for all your writers do consent that ipse is he : now, you are not ipse, for I am he. Act V. Sc. ii.] AS YOU LIKE IT. 147 Will. Which he, sir? 50 Touch. He, sir, that must marry this woman. Therefore, you clown, abandon, — which is in the vulgar leave — the society, — which in the boorish is company — of this female, — which in the common is woman ; which together is, 55 abandon the society of this female ; or, clown, thou perishest ; or, to thy better understand- ing, diest; or, to wit, I kill thee, make thee away, translate thy life into death, thy liberty into bondage. I will deal in poison with thee, 60 or in bastinado, or in steel; I will bandy with thee in faction; I will o'er-run thee with policy ; I will kill thee a hundred and fifty ways : therefore tremble, and depart. Aud. Do, good William. 65 Will. God rest you merry, sir. [Exit. Enter Covin. Cor. Our master and mistress seeks you. Come, away, away! Touch. Trip, Audrey! trip, Audrey! I attend, I attend. [Exeunt. Sceke II. The forest. Enter Orlando and Oliver. Orl. Is't possible that on so little acquaintance you should like her? That but seeing you 148 AS YOU LIKE IT. [Act V. Sc. ii. should love her? And loving woo? And, wooing, she should grant? And will you persever to enjoy her? 5 Oil. Neither call the giddiness of it in question, the poverty of her, the small acquaintance, my sudden wooing, nor [her] sudden con- senting; but say with me, I love Aliena; say with her that she loves me; consent withio both that we may enjoy each other. It shall be to your good; for my father's house and all the revenue that was old Sir Eoland's will I estate upon you, and here live and die a shepherd. 15 Orl. You have my consent. Let your wedding be to-morrow; thither will I invite the Duke and all 's contented followers. Go you and prepare Aliena; for look you, here comes my Eosalind. 20 Enter Rosalind. Ros. God save you, brother. Oli. And you, fair sister. [Exit. Ros. 0, my dear Orlando, how it grieves me to see thee wear thy heart in a scarf ! Orl. It is my arm. 25 Ros. I thought thy heart had been wounded with the claws of a lion. Orl. Wounded it is, but with the eyes of a lady. Ros. Did your brother tell you how I counter- feited to swoon when he showed me your30 handkercher? Act V. Sc. ii.] AS YOU LIKE IT. 149 Orl. Ay, and greater wonders than that. Bos. 0, I know where you are. Nay, 'tis true. There was never any thing so sudden but the fight of two rams, and Caesar's thrasonical brag of "I came, saw, and overcame"; for your brother and my sister no sooner met but they looked; no sooner looked but they loved; no sooner loved but they sighed; no sooner sighed but they asked one another the reason; no sooner knew the reason but they sought the remedy; and in these degrees have they made a pair of stairs to marriage which they will climb incontinent . . . ; they are in the very wrath of love and they will together; clubs cannot part them. Orl. They shall be married to-morrow, and I will bid the Duke to the nuptial. But, 0, how bitter a thing it is to look into happiness through another man's eyes! By so much the more shall I to-morrow be at the height of heart-heaviness, by how much I shall think my brother happy in having what he wishes for. 55 Bos. Why then, to-morrow I cannot serve your turn for Rosalind? Orl. I can live no longer by thinking. Bos. I will weary you then no longer with idle talking. Know of me then, for now I speak eo to some purpose, that I know you are a gen- tleman of good conceit. I speak not this 150 AS YOU LIKE IT. [Act V. Sc. ii. that you should bear a good opinion of my knowledge, insomuch I say I know you are ; neither do I labour for a greater esteem than may in some little measure draw a belief from 6& you, to do yourself good and not to grace me. Believe then, if you please, that I can do strange things. I have, since I was three years old, conversed with a magician, most profound in his art and yet not damnable. 70j If you do love Rosalind so near the heart as your gesture cries it out, when your brother marries Aliena, shall you marry her. I know into what straits of fortune she is driven ; and it is not impossible to me, if it appear not re inconvenient to you, to set her before your eyes to-morrow human as she is and without any danger. Orl. Speakest thou in sober meanings? Bos. By my life, I do ; which 1 tender dearly, 80 though I say I am a magician. There- fore, put you in your best array; bid your friends ; for if you will be married to-morrow, you shall ; and to Rosalind, if you will. Enter Silvius and Pliebe. Look, here comes a lover of mine and a lover 85 of hers. Plie. Youth, you have done me much ungentle- ness, To show the letter that I writ to you. Bos. I care not if I have. It is my study Act Y. So. ii.] AS YOU LIKE IT. 151 flo To seem despiteful and ungentle to you. You are there followed by a faithful shepherd. Look upon him, love him. He worships you. Phe. Good shepherd, tell this youth what 'tis to love. Sil. It is to be all made of sighs and tears ; 95 And so am I for Phebe. Phe. And I for Ganymede. Orl. And I for Rosalind. Bos. And I for no woman. Sil. It is to be all made of faith and service; ico And so am I for Phebe. Phe. And I for Ganymede. Orl. And I for Rosalind. Bos. And I for no woman. Sil. It is to be all made of fantasy. los All made of passion, and all made of wishes; All adoration, duty, and observance, All humbleness, all patience, and impatience, All purity, all trial, all observance; And so am I for Phebe. no Phe. And so am I for Ganymede. Orl. And so am I for Rosalind. Bos. And so am I for no woman. Phe. If this be so, why blame you me to love you? Sil. If this be so, why blame you me to love you? H5 Orl. If this be so, why blame you me to love you? Bos. Why do you speak too, "Why blame you me to love you?" Orl. To her that is not here, nor doth not hear. 152 AS YOU LIKE IT. [Act V. So. iii. Bos. Pray you, no more of this; 'tis like the howling of Irish wolves against the moon. i2( [To Sil] I will help you, if I can. [ To Phe.] I would love you, if I could. To-morrow meet me all together. [ To Phe.] I will marry you, if ever I marry woman, and I'll be married to-morrow. [To OrL] I will sat- 121 isfy you, if ever I satisfied man, and you shall be married to-morrow. [ To Sil. ] I will content you, if what pleases you contents you, and you shall be married to-morrow. [To Orl.] As you love Eosalind, meet. i3t [ To Sil. ] As you love Phebe, meet. And as I love no woman, I'll meet. So, fare you well. I have left you commands. Sil I'll not fail, if I live. Phe. Nor I. iss OrL Nor I. ' [Exeunt. SCEtfE III. The forest. Enter Touchstone and Audrey. Touch. To-morrow is the joyful day, Audrey; to-morrow will we be married. Aud. I do desire it with all my heart ; and I hope it is no dishonest desire to desire to be a Act V. Sc. iii.] AS YOU LIKE IT. 153 5 woman of the world. Here come two of the banished Duke's pages. Enter two Pages. First Page. Well met, honest gentlemen. Touch. By my troth, well met. Come, sit, sit, and a song. 10 Sec. Page. We are for you. Sit i' the middle. First Page. Shall we clap into 't roundly, without hawking or spitting or saying we are hoarse, which are the only prologues to a bad voice? Sec. Page. V faith, i' faith; and both in a tune, i§ like two gipsies on a horse. so^G. It was a lover and his lass, With a hey, and a ho, and a hey nonino, That o'er the green corn-field did pass In the spring time, the only pretty ring time, When birds do sing, hey ding a ding, ding ; Sweet lovers love the spring. Between the acres of the rye, With a hey, and a ho, and a hey nonino, These pretty country folks would lie, In spring time, &c. This carol they began that hour, With a hey, and a ho, and a hey nonino, How that a life was but a flower In spring time, &c. 154 AS YOU LIKE IT. [Act V. Sc. iv. And therefore take the present time, so With a hey, and a ho, and a hey nonino ; For love is crowned with the prime In spring time, &c. Touch. Truly, young gentlemen, though there was no great matter in the ditty, yet the note 35 was very untuneable. First Page. You are deceived, sir. We kept time, we lost not our time. Touch. By my troth, yes; I count it but time lost to hear such a foolish song. God buy 40 you — and God mend your voices! Come, Audrey. [Exeunt. Scene IV. The forest. Enter Duke senior, Amiens, Jaques, Orlando, Oliver, and Celia. Duke 8. Dost thou believe, Orlando, that the boy Can do all this that he hath promised? Orl. I sometimes do believe, and sometimes do not; As those that fear they hope, and know they fear. Enter Rosalind, 8ilvius, and Phebe. Bos. Patience once more, whiles our compact is 5 urged. ActV. Sc. iv.] AS YOU LIKE IT. 155 You say, if I bring in your Rosalind, You will bestow her on Orlando here? Duke S. That would I, had I kingdoms to give with her. Eos, And you say, you will have her, when 1 bring her. 10 Orl. That would I, were I of all kingdoms king. Eos. You say, you'll marry me, if I be willing? Phe. That will I should I die the hour after. Eos. But if you do refuse to marry me, You'll give yourself to this most faithful shepherd? 15 Phe. So is the bargain. Eos. You say, that you'll have Phebe, if she will? Sil. Though to have her and death were both one thing. Eos. I have promised to make all this matter even. Keep you your word, Duke, to give your daughter ; 20 You yours, Orlando, to receive his daughter ; Keep your word, Phebe, that you'll marry me, Or else refusing me, to wed this shepherd; Keep your word, Silvius, that you'll marry her, If she refuse me ; and from hence I go, 25 To make these doubts all even. [Exeunt Eosalind mid Celia. Duke S. I do remember in this shepherd boy 156 AS YOU LIKE IT. [Act V. Sc. iv. Some lively touches of my daughter's favour. Orl. My lord, the first time that I ever saw him Methought he was a brother to your daughter. But, my good lord, this boy is forest-born, 30 And hath been tutored in the rudiments Of many desperate studies by his uncle, Whom he reports to be a great magician, Obscured in the circle of this forest. Enter Touchstone and Audrey. Jaq. There is, sure, another flood toward, and 35 these couples are coming to the ark. Here comes a pair of very strange beasts, which in all tongues are called fools. Touch. Salutation and greeting to you all ! Jaq. Good my lord, bid him welcome. This is 40 the motley-minded gentleman that I have so often met in the forest. He hath been a courtier, he swears. Touch. If any man doubt that, let him put me to my purgation. I have trod a measure; 1 45 have flattered a lady; I have been politic with my friend, smooth with mine enemy ; I have undone three tailors; I have had four quarrels, and like to have fought one. Jaq. And how was that ta'en up? 50 Touch. Faith, we met, and found the quarrel was upon the seventh cause. Jaq. How seventh cause? Good my lord, like this fellow. Duice S. I like him very well, 55 Act V. Sc. iv.] AS YOU LIKE IT. 157 Touch. God 'ild you, sir ; I desire you of the like. I press in here, sir, amongst the rest of the country copulatives, to swear and to forswear, according as marriage binds and blood breaks. 60 A poor virgin, sir, an ill-favoured thing, sir, but mine own. A poor humour of mine, sir, to take that that no man else will. Eich honesty dwells like a miser, sir, in a poor house ; as your pearl in your foul oyster. 65 Duke 8. By my faith, he is very swift and senten- tious. Touch. According to the fool's bolt, sir, and such dulcet diseases. Jaq. But, for the seventh cause, — how did you 70 find the quarrel on the seventh cause? Touch. Upon a lie seven times removed: — bear your body more seeming, Audrey — as thus, sir. I did dislike the cut of a certain courtier's beard. He sent me word, if I said 75 his beard was not cut well, he was in the mind it was: this is called the Eetort Courteous. If I sent him word again "it was not well cut," he would send me word, he cut it to please himself : this is called the 80 Quip Modest. If again "it was not well cut, "he disabled my judgment: this is called the Reply Churlish. If again "it was not well cut," he would answer, I spake not true : this is called the Reproof Valiant. If 85 again "it was not well cut," he would say, I 158 AS YOU LIKE IT. [Act V. Sc. iv. lied : this is called the Countercheck Quarrel- some: and so to the Lie Circumstantial and the Lie Direct. Jaq. And how oft did you say his beard was not well cut? 90 Touch. I durst go no further than the Lie Cir- cumstantial, nor he durst not give me the Lie Direct; and so we measured swords and parted. Jaq. Can you nominate in order now the degrees 95 of the lie? Touch. sir, we quarrel in print, by the book, as you have books for good manners. I will name you the degrees. The first, the Ketort Courteous ; the second, the Quip Modest ; the 100 third, the Reply Churlish; the fourth, the Reproof Yaliant; the fifth, the Countercheck Quarrelsome; the sixth, the Lie with Cir- cumstance; the seventh, the Lie Direct. All these you may avoid but the Lie Direct; andios you may avoid that too, with an If. I knew when seven justices could not take up a quarrel, but when the parties were met themselves, one of them thought but of an If, as, "If you said so, then I said so"; and no they shook hands and swore brothers. Your If is the only peace-maker ; much virtue in If. Jaq. Is not this a rare fellow, my lord? He's as good at any thing, and yet a fool. Duke 8. He uses his folly like a stalking-horse he Act V. Sc. iv.] AS YOU LIKE IT. 159 and under the presentation of that he shoots his wit. Enter Hymen, Rosalind, and Celia. [Still Music. Hym. Then is there mirth in heaven, When earthly things made even 120 Atone together. Good Duke, receive thy daughter. Hymen from heaven brought her, Yea, brought her hither, That thou might st join her hand with his 125 Whose heart within his bosom is. Eos. [To the Duke.] To you I give myself, for I am yours. [To Orl.] To you I give myself, for I am yours. Duke 8. If there be truth in sight, you are my daughter. Orl. If there be truth in sight, you are my Eosalind. 130 Phe. If sight and shape be true, Why then, my love adieu ! Eos. I'll have no father, if you be not he; I'll have no husband, if you be not he; Nor ne'er wed woman, if you be not she. 135 Hym. Peace, ho ! I bar confusion. 'Tis I must make conclusion Of these most strange events. Here's eight that must take hands To join in Hymen's bands, 140 If truth holds true contents. 160 AS YOU LIKE IT. [Act V. Sc. iv. You and you no cross shall part ; You and you are heart in heart ; You to his love must accord, Or have a woman to your lord; You and you are sure together, 145 As the winter to foul weather. Whiles a wedlock-hymn we sing, Feed yourselves with questioning; That reason wonder may diminish, How thus we met, and these things finish. 150 SONG. Wedding is great Juno's crown O blessed bond of board and bed! "lis Hymen peoples every town ; High wedlock then be honoured. Honour, high honour, and renown, 155 To Hymen, god of every town! Duke S. my dear niece, welcome thou art to me! Even daughter, welcome in no less degree. Plie. I will not eat my word, now thou art mine ; Thy faith my fancy to thee doth combine. 160 Enter Jaques de Boys. Jaq. de B. Let me have audience for a word or two. I am the second son of old Sir Eoland, That bring these tidings to this fair assembly. Duke Frederick, hearing how that every day Act V. Sc. iv.] AS YOU LIKE IT. 161 165 Men of great worth resorted to this forest, Addressed a mighty power, which were on foot, In his own conduct, purposely to take His brother here and put him to the sword ; And to the skirts of this wild wood he came, 170 Where meeting with an old religious man, After some question with him, was converted Both from his enterprise and from the world ; His crown bequeathing to his banished brother, And all their lands restored to them again 175 That were with him exiled. This to be true, I do engage my life. Duke S. Welcome, young man; Thou offer'st fairly to thy brothers' wedding: To one his lands withheld; and to the other A land itself at large, a potent dukedom. iso First, in this forest let us do those ends That here were well begun and well begot ; And after, every of this happy number, That have endured shrewd days and nights with us, Shall share the good of our returned fortune, 185 According to the measure of their states. Meantime, forget this new-fallen dignity, And fall into our rustic revelry. Play, music! And you, brides and bride- grooms all, With measure heaped in joy, to the measures fall. 162 AS YOU LIKE IT. [Act V. So. iv. Jaq. Sir, by your patience. If I heard youi90 rightly, The Duke hath put on a religious life And thrown into neglect the pompous court? Jaq. de B. He hath. Jaq. To him will I. Out of these convertites There is much matter to be heard and 195 learned. [To Duke S.] You to your former honour I bequeath ; Your patience and your virtue well deserves it : [To Orl."] You to a love, that your true faith doth merit: [To Oli.~\ You to your land, and love, and great allies : [To SiL] You to a long and well-deserved bed: 200 [To Touch.] And you to wrangling; for thy loving voyage Is but for two months victualled. So, to your pleasures; I am for other than for dancing measures. Duke S. Stay, Jaques, stay. Jaq. To see no pastime I. What you would have 205 I'll stay to know at your abandoned cave. [Exit. Duke 8. Proceed, proceed. We will begin these rites, As we do trust they'll end, in true delights. [A dance. AS YOU LIKE IT. 163 EPILOGUE. Bos. It is not the fashion to see the lady the epilogue, but it is no more unhandsome than to see the lord the prologue. If it be true that good wine needs no bush, 'tis true that s a good play needs no epilogue : yet to good wine they do use good bushes; and good plays prove the better by the help of good epilogues. What a case am I in then, that am neither a good epilogue, nor cannot insin- 10 uate with you in the behalf of a good play! I am not furnished like a beggar, therefore to beg will not become me. My way is to conjure you, and I'll begin with the women. I charge you, women, for the love you bear * to men, to like as much of this play as please you; and I charge you, men, for the love you bear to women,— as I perceive by your simpering, none of you hates them— that between you and the women the play » may please. If I were a woman I would kiss as many of you as had beards that pleased me, complexions that liked me, and breaths that I defied not ; and, I am sure, as many as have good beards or good faces or sweet * breaths will, for my kind offer, when I make curtsy, bid me farewell. [Exeunt. NOTES. ABBKEVIATIONS. Abbott.— E. A. Abbott's Shakespearian Grammar, Lon- don, 1879. A. S. — Anglo-Saxon. Clar. Clarendon Press Series, edited by W. Aldis Wright. Fj— First Folio Edition [of Shakspere, 1623. F 2 — Second Folio, 1632. M. E.— Middle English. Schmidt. — Shakespeare-Lexicon, by Alex. Schmidt. Var.— Variorum Edition of As You Like It, edited by H. H. Furness. War. — Warwick Edition of As You Like It, edited by J. C. Smith. The Title.— The chief suggestions that have been offered as to the origin of the name As You Like It, are these: (1) that it is from a phrase in Lodge's preface, "If you like it, so : and yet I will be yours in duty, if you be mine in favour" ; (2) that it was a proverbial motto, the use of which here is parallel to the title of Much Ado About Nothing; (3) that it expresses the prevailing mood of the play. ACT I. I. i. In the first scene we have an exposition of the open- ing situation, and are informed of the outward circum- stances of nearly all the main characters. In the case of Orlando, something more is done, for we get an indica- tion of the spirit in which he takes his fortunes, and the action, so far as it concerns him, is set a-going. I. i. 1-2. The Folio reads thus : "It was upon this fashion 164 NOTES. 165 bequeathed me by will." Though the general meaning is clear, the grammar is difficult, since charged (1. 4) has no subject, and it would be awkward to understand "it was," parallel to it was bequeathed above. The simplest emendation is to punctuate as in the text, and understand "he" (i.e., my father) before bequeathed. I. i. 2-3. But poor a thousand. This transposition of adjective and article is most probably to be regarded as par- allel to such idioms as "so great a danger," "how honest a man." Cf. Abbott, §§ 85, 422. • I. i. 4. On his blessing. At the risk of losing his blessing. I. i. 6. From the age of Jaques, "university" must be meant. Cf. Hamlet, I. ii. 113, "Going back to school in Wittenberg." For the pronunciation of Jaques, cf. II. i. 26, note. Manage. The training of a horse. Countenance. Behavior, treatment. Cf. II. vii. Hinds. Farm-servants. Bars me. Shuts me out Mines. Undermines. Make. The word is used by Oliver in the sense Orlando puns on it in the sense of "produce." Marry. A corruption of the oath "By Mary" (the Virgin) . There is also a pun on mar. I. i. 40-41. Be naught. A petty curse, like "Go to the mis- chief," or "Devil take you." "But Oliver also plays on the literal meaning — 'Better be nothing than be marring your- self.'" [War.] I. i. 42. The reference is, of course, to the parable of the Prodigal Son, Luke xv. I. i. 43. Prodigal. Schmidt takes this as meaning merely "ample," "abundant." Clar. and others take the phrase to mean, "What portion have I prodigally spent?" and compare II. iii. 39, "the thrifty hire I saved," for "the hire I saved by thrift. " Furness suggests that the phrase should be "prodi- gal-portion" = "prodigal's portion"; and, taking into ac- count the reference in the preceding line, this seems most probable. I. i. 48. Him. For him = "he whom," cf. Abbott, §208. I. i. 14. Li. 20. 108. I. i. 22. from. I. i. 23. I. i. 33. of "do." I. i. 37, 166 NOTES. I. i. 50. In the gentle condition of blood. Gentle (= of good family) logically goes with blood. "After the fashion of well-born brothers." I. i. 51. Courtesy of nations. The law of nations in matters of precedence, i.e., here, the law of primogeniture. I. i. 57. Is nearer to his reverence. Gives you a better title to the respect owed to him. The tone or gesture with which these words are uttered is more probably the cause of Oliver's burst of passion which immediately follows than any subtle significance in the words themselves. I. i. 59-60. Too young in this. Not enough my superior in strength, whatever you may be in years. Cf. Lodge's Rosalynde, where Saladyne (= Oliver) says, "Though I am eldest by birth, yet never having attempted any deeds of arms, I am youngest to perform any martial exploits." I. i. 61. Thou. Note that at this point, when they have almost come to blows, the contemptuous "thou" is used by both, instead of "you." I. i. 65. Villains. There may be a play here on the mod- ern sense of this word and the older one of "low born." I. i. 80. Allottery. Portion allotted. I. i. 92. Spoke. Cf. Introduction, p. 42, 4, (b). I. i. 94. Grow upon. "Encroach." (Clar.) "Orlando is growing too big on his hands to be treated any longer like a boy." (Furness.) I. i. 95. Bankness. Strong, rapid growth; hence, in- solence. I. i. 95-96. No . . . neither. Cf. Introduction, p. 42, 5, (a). I. i. 107 ff . It is clear that this speech is put into the mouth of Charles for the instruction of the audience rather than of Oliver. With the implication throughout this passage that the banishment of the old Duke is recent, cf . the indication of a long time in I. iii. 70-77. I. i. 124-25. Forest of Arden. Shakspere took the name from Lodge, who meant Ardennes in France. That there was a forest of Arden in Warwickshire need not be regarded as more than a coincidence ; and in placing in it beasts and plants foreign to France, Shakspere was only availing him- self of poetic license in his accustomed fashion. NOTES. 167 I. i. 125. A many merry men. Cf. King John, IV. ii. 199, "A many thousand warlike French." This "a" was fre- quent before numerals. Cf . Abbott § 87. I. i. 128. Fleet. Elsewhere in Shakspere, as in other writers, this verb is intransitive. I. i. 129. The golden world. The mythical golden age, when, under the government of Saturn, men, without laws, lived in innocence and justice, the earth produced abundance without cultivation, and the season was perpetual spring. See Ovid's Metamorphoses, I. 89 ff. I. i. 130. What. Merely an exclamation. I. i. 132. Marry. Cf. I. i. 37. I. i. 144. Withal. With it. But it is often only an em- phatic "with," especially at the end of a sentence; cf. I. ii. 29. I. i. 145. Intendment. Intention. I. i. 152. Underhand. Secret, indirect (without any evil implication). I. i. 154. It. The use of the neuter here is contemptuous. But cf . III. v. 110. I. i. 157. Contriver. Plotter. Cf. IV. iii. 137. I. i. 160. Thou wert best. The original form of the idiom is found in "You were best"= [To] you [it] were best, where "you" is a dative. But in farm "you" might also be nominative, and through this confusion arose constructions like that in the text. Cf . 1 Henry VI., V. iii. 82, "I were best to leave him." I. i. 162-63. Grace himself on thee. Do himself honor through overcoming you. I. i. 163. Practise. Plot. Cf . contriver, 1. 157 above. I. i. 170. Anatomize. Dissect, lay bare. I. i. 179. Gamester. The modern sense of "gambler" is, of course, absent, yet the context makes it probable that to the usual interpretation of "lively fellow" has to be added the idea of Orlando's eagerness to enter the wrestling contest. I. i. 181. He. For this use of nominative for objective, cf. Introduction, p. 41, 3, (a). I. i. 183. Noble device. High ideals. Sorts. Ranks. I. i. 187. Misprised. Underestimated. Cf. I. ii. 196. I. i. 189. Kindle. Induce to go, incite. 168 NOTES. I. i. 190. Go about. Take in hand, attempt. I. ii. In the second scene we are introduced to the heroine, and the love plot is begun. I. ii. 1. Sweet my coz. My sweet cousin. Cf. III. ii. 200, V. iv. 40, and similar phrases, where the possessive has be- come so closely associated with the noun, that the adjective is forced out of its regular position. I. ii. 4. I were merrier. I is omitted in the folio, and was first inserted by Rowe. I. ii. 6. Learn. Teach. This usage, still common in some localities, is frequent in Elizabethan English, and occurs as early as the 13th century. I. ii. 11. So. Provided that. I. ii. 14, 15. So righteously tempered. As perfect. "To temper" properly means "to mix," then "to bring to a cer- tain state by mixing." I. ii. 18. But I. Cf. Introduction, p. 41-43, (a). I. ii. 27. "Note the dramatic irony of the proposed 'sport.' Before the scene is over she is in love in earnest." (War.) I. ii. 29. Withal. With. Cf. I. i. 144, note. I. ii. 30-31. Nor no . . . neither. Cf. Introduction, p.42-45, (a). I. ii. 35, 36. Housewife Fortune. Dame Fortune ; used famil- iarly. I. ii. 36. Wheel. The wheel on which Fortune was usually represented as standing blindfolded symbolized her incon- stancy, out of which Celia proposed to chaff her. I. ii. 43. Honest. Virtuous. Cf. III. iii. 19, 27 ff. ; V. iii. 4. I. ii. 44. m-favouredly. Ugly. Some editors read "ill favoured" in accordance with the modern idiom. Cf. In- troduction, p. 43, 5,(b). I. ii. 48. No? This mark of interrogation is due to Hanmer. Celia questions the negative in the end of Rosa- lind's speech. I. ii. 54. Natural. Idiot : still so used in Scotland. Shaks- pere, of course, does not mean that Touchstone is actually an idiot, but the sense is near enough to be forced for the sake of a pun. I. ii. 57. Perceiving. SoF 2 . F 1 has "perceiveth" which re- quires the insertion of "and" before hath sent. Either emen- dation is sufficient. NOTES. 169 I. ii. 71. Naught. Worthless. Cf. III. ii. 15. I. ii. 92. Celia. The folio gives this speech to Rosalind, but Theobald changed it because Frederick is the name of the usurping Duke. I. ii. 94. Taxation. Satire. Cf. II. vii. 71. I. ii. 98. Wit . . . silenced. This has been taken as a pos- sible topical allusion to some recent interference with actors (Clar.) or to the "burning of satirical books by public author- ity, 1st June, 1599. " (Fleay, quoted in Var.) I. ii. 111. Colour. Kind. Perhaps the suggestion is right that Celia is poking fun at Le Beau's pronunciation of sport, which she pretends to take for "spot." I. ii. 115. Destinies decree. Fi reads "decrees," probably only as a printer's error for "decree." Other possibilities are that Destinies is a possessive, and that the whole phrase is parallel to will and fortune, or that it is a case of a plural subject with a singular verb, for which cf. Introduction, p. 42,4, (a). I. ii. 116. With a trowel. With more vigor than delicacy. I. ii. 117. Bank. For Rosalind's pun, cf. Cymbeline, II. i. 17-8: Clo. Would he had been one of my rank ! Sec. Lord. [Aside.] To have smelt like a fool. I. ii. 119. Amaze. Perplex, rather than "astonish." I. ii. 128. Comes. A singular verb is common with a plural subject in Shakspere when the verb precedes the noun. Cf. Abbott, § 335, and Introduction, p. 42, 4, (a). I. ii. 132. Proper. Handsome. I. ii. 134. With bills ontheir necks. Farmer gives these words to Le Beau. This gives us a double pun. Le Beau would use bills in the sense of the weapon, (Cf. Lodge, "Rosader came pacing towards them with his forest-bill on his neck," p. 362 of Var.) and Rosalind puns on it in the sense of the legal document which conventionally began, Be it known, etc., and gets in another pun on presence and presents. I. ii. 137. Which Charles. " Which being [originally] an adjective frequently accompanies the repeated antecedent, where definiteness is desired, or where care must be taken to select the right antecedent" (Abbott, §269). 170 NOTES. I. ii. 142. Dole. Grieving. I. ii. 154. Broken music. Music played by a set of different instruments, as opposed to "concert music" played by a set of the same instruments. There is, of course, a pun. I. ii. 162. Stage direction. Flourish. I.e., of trumpets. I. ii. 163. His . . . forwardness. Let the danger he incurs through his obstinacy be on his own head. I. ii. 166. Successfully. As if he might be successful. Cf . Introduction, p. 43, 5, (b). I. ii. 172. Odds in the man. Superiority on the side of Charles. But many editors read "men" and take odds in the sense of "inequality." I. ii. 196. Misprised. Undervalued. Cf. I. i. 187. I. ii. 200. Wherein. The antecedent is omitted. Supply "for this (offence)." I. ii. 205. Gracious. Favored. I. ii. 209. Only. Transposed for emphasis from before fill- Cf . V. iii. 13. I. ii. 228. Ways. Originally an adverbial genitive, = "on your way," not a plural. Cf. II. iii. 66, and IV. i. 190. I. ii. 229. Be thy speed. Give thee success. Speed orig- inally meant "success," but in this and similar passages it is used as if = "promoter of success." Cf. Two Gentlemen of Verona, III. i. 301, "Saint Nicholas be thy speed" ; Romeo and Juliet, V. iii. 121, "Saint Francis be my speed," etc. I. ii. 234. Should down. Cf. Introduction, p. 42, 4, (c). 1. ii. 237. Breathed. Exercised. I. ii. 246. Still. Always. I. ii. 253. His youngest son. The sentence is unfinished. Calling. Name. I. ii. 257. His son. To be his son. I. ii. 258. Unto. In addition to. I. ii. 261. Envious. Malignant. This use is commoner in Shaksperean English than the modern one exemplified in I. i. 156. I. ii. 262. Sticks.- Stabs. I. ii. 264. This line is awkward in meter as well as in ex- pression. Capell and others omit "all." Abbott scans it thus: But just | ly as 1 you have | exceed' | all pro | mise; NOTES. 171 Koni'g (quoted by War.) thus: But just J ly as | you've ex | ceeded [ all pro [ mise. I. ii. 266. Out of suits with fortune. No longer in fortune's suite or service. There may be a play on suit = livery, and suit = favor sued for. Cf . II. vii. 44, note. I. ii. 267. Could. I.e., as far as good will goes. I. ii. 271. Quintain. A wooden dummy used for practice in tilting. I. ii. 276. Have with you. Come along. I. ii. 284. Condition. Mood. I. ii. 286. Humorous. Subject to moods (induced, accord- ing to the old physiology, by the predominance of one of the four "humors," the mixture of which determined a man's temperament) . I. ii. 287. Than I. Cf. Introduction, p. 41, 3, (a) and line 18, above. I. ii. 292. Taller. This seems to be a slip. Cf. I. iii. 116, and IV. iii. 90. It has been proposed to read "shorter," "smaller," "lower," "less taller," "lesser." See Var. I. ii. 299. Argument. Reason, grounds. I. ii. 303. Suddenly. Soon. Cf. II. ii. 19, II. iv. 102. I. ii. 304. A better world. Better days. I. ii. 307. From the smoke into the smother. "Out of the frying pan into the fire," (Clar.). Smother means "suffocating smoke." I. iii. The first part of the scene (1-39) emphasizes the growing passion of Rosalind, so that we expect it to be a main element in the plot ; the second part (39-90) advances the action through the sentence of banishment for which Le Beau's speech in the end of Scene ii. prepared us ; the third part (91-139) arranges for the transference of the action to the forest of Arden. I. iii. 17. Coat. Petticoat, as still in Scotland. I. iii. 25-26. A good wish upon you! etc. Blessings on you! You will try to wrestle with your affections sometime, though they master you at first. I. iii. 33. Chase. Inference, following of the argument. I. iii. 35. Dearly. Intensely. Dear is used in Shakspere of anything, good or bad, that comes home to one intimately. Cf. Hamlet, I. ii. 182, "My dearest foe." 172 NOTES. I. iii. 37. Deserve well. Celia, of course, means "deserve hatred well," but Rosalind takes advantage of the omission of the object to answer in the opposite sense. I. iii. 42. Safest haste. I.e., The greater haste you make, the safer you will be. I. iii. 43. Cousin. Used for niece or any near relation out- side of one's immediate family. I. iii. 54. Purgation. Proof of innocence. I. iii. 63. Friends. Relations. I. iii. 65. Good my liege. Of. I. ii. 1, note. I. iii. 68. Celia. A trisyllable. I. iii. 71. Remorse. Pity. I. iii. 72 ff. Cf. I. i. 107, note. I. iii. 74. Still. Cf. I. ii. 246, note; I. iii. 77. I. iii. 76. Juno's swans. Clar. points out that it was to Venus, not Juno, that the swan was sacred. I. iii. 79. Patience. Cf. Introduction, p. 40, 7. I. iii. 82. Show. Appear. I. iii. 98. Thou and I am. Cf. Introduction, p. 42, 4, (a). I. iii. 103. Change. I.e., of fortune. But the later folios read "charge," the meaning of which would be explained by the next line. I. iii. 117. All points. In all respects. I. iii. 118. Curtle-axe. A corruption of "cutlass," a short sword. Neither the word nor the thing has originally any connection with axe. I. iii. 123. It. The indefinite use. Cf . V. ii. 72. I. iii. 129. Aliena. From the Latin word meaning "stramger." I. iii. 139. In Lodge's novel, the Duke banishes his daughter also, in anger at her importunity on behalf of Rosalind. ACT II. II. i. In the first act the dramatist introduced the hero and heroine, represented the beginning of their passion, and, through Rosalind's banishment, their apparently com- plete separation. In the second, he prepares the way for their coming together again in the Forest of Arden. II. i. 1. Exile. The accent on this word in Shakspere may be on either syllable. NOTES. 173 II. i. 5. Here feel we but the penalty of Adam. The Folios read "not" for but. Editors who retain this interpret the penalty of Adamas labor (Gen. III. 17, "In the sweat of thy face shalt thou eat bread"), and put a semicolon or period after Adam. Theobald, followed by many modern editors, changed "not" to but, understanding the season's difference to be the penalty of Adam, and assuming a confusion (made also by Milton) of the Scripture account of the Pall with Ovid's account of the change in climate after the passing away of the Golden Age. (Cf. note on I. i. 129, above). There is possibly some further corruption of the text, for the lines immediately following are confused in grammar. II. i. 6. As. "Here used in the sense of 'to wit,' 'namely.'" (Var.) II. i. 8. Which. Usually explained as = "as to which." But it is clearly a case of anacolouthon or change of con- struction. II. i. 13. Venomous. The popular but mistaken belief that the toad is poisonous is very old. II. i. 14. Jewel. The toad-stone which was supposed to be found in the head of the toad was taken as a medicine or worn as an amulet against poisons. II. i. 18. I would not change it. Many editors give this to the Duke. But no emendation is necessary, and the Duke does "change it" at the end of the play. II. i. 22. Fools. Often used in affection or pity. Cf. line 40, below, and King Lear, V. iii. 305, "And my poor fool is hanged," referring to Cordelia. II. i. 23. Burghers. Citizens. II. i. 24. Forked heads. Strictly, a "forked arrow," as dis- tinguished from a barbed arrow, was one with a double point, like a swallow's tail. Here, however, probably arrows in general are meant. II. i. 26. The melancholy JaquesJ. There has been much dis- cussion on the pronunciation of this name. The present line, which is the only one in the play where the evidence of the metre is clear, requires a dissyllabic pronunciation (Ja-ques) } and may be accepted as giving the rule for the play as a whole. II. i. 33. Sequestered. Separated from his kind. 174 NOTES. II. i. 46. For metre, cf. Introduction, p. 38, 2. II. i. 52. Flux. Flow, current. II. i. 58. Invectively. With bitter satire. II. i. 62. Up. For this intensive use of up with the sense of "completely," cf. phrases such as "burn up," "wind up," etc. II. i. 67. Cope. Encounter. The word is now no longer transitive, but requires "with." II. i. 68. Matter. Material for thought, ideas. II. ii. Besides preparing us for the banishment of Oliver, this short scene affords a striking contrast between the moods of the two Dukes and their respective surround- ings. II. ii. 3. Are of consent and sufferance. Have been accom- plices. II. ii. 8. Roynish. Literally, "scurvy," but used vaguely in contempt. The reading "roguish" has been suggested. II. ii. 17. His brother. The emendation of Capell, "his brother's," while not absolutely necessary, avoids the con- fused repetition in the next line. Gallant refers to Orlando. II. ii. 19. Suddenly. Quickly. Cf . I. ii. 303, II. iv. 102. II. ii. 20. Quail. Flag, fail through slackness. II. iii. 4. Make. Cf. I. i. 33, note. II. iii. 7. Fond. Foolishly eager. II. iii. 8. Bonny. The usual meaning of "bonny" is not appropriate here, and Schmidt and others give it the mean- ing of "stout," "strong." But this meaning does not seem to be found elsewhere, and Warburton's emendation "bony" has been widely accepted. Priser. Wrestler. Cf. Fr. etre aux prises, to grapple, struggle. Humorous. Cf. I. ii. 286, note. II. iii. 12. No more do yours. Your graces do no more for you. II. iii. 26. Practices. Plots. Cf. I. i. 163. II. iii. 27. This is no place. This is explained as "no fit place," or, "no dwelling place." But it might be used to-day to express contempt or abhorrence, without so definite an idea as these explanations imply. II. iii. 37. Diverted. Turned aside from its natural channel. II. iii. 39. Thrifty hire. Wages saved by thrift. Cf. I. i. 43. NOTES. 175 II. iii. 42. Unregarded age. Supply "should be," to parallel the construction in the previous line. II. iii. 43-44. Cf . Job xxxviii. 41 ; Psalms cxlvii. 9 ; Mat- thew x. 29; Luke xii. 6 and 24. II. iii. 50. Nor did not. Cf. Introduction, p. 42, 5, (a). II. iii. 58. Sweat. Abbott (§ 341) gives this as an instance of a word ending in ' 't' ' instead of "ted' ' for euphony. It may be from the preterite "swette" found in M. E. II. iii. 61-62. Promotion puts an end to the service which earned it. II. iii. 65. In lieu of. Properly, "in the place of," but used by Shakspere for "in return for." II. iii. 66. Ways. Cf . I. ii. 228, note, and IV. i. 190. II. iii. 68. Low content. Humble situation in which we may be contented. II. iv. This scene" slightly advances the main action as regards the heroine, and introduces the underplot of Phebe and Silvius. II. iv. 1. Wea?~y. The Folios read "merry," and this is defended by Furness and others who take Rosalind's second speech, except the last three words, as an aside, and sup- pose her to be assuming good spirits to support Celia. But weary seems to suit better both Touchstone's retort and Rosalind's confession. II. iv. 6-7. Doublet and hose. The male costume of the time, corresponding to coat and trousers. Contrast the modern sense of hose. II. iv. 9. Cannot go no. Cf. Introduction, p. 42, 5, (a). II. iv. 12. Cross. Touchstone puns on the use of the word in Matthew x., 38, "He that taketh not his cross," and its use as the name of an Elizabethan coin which had a cross stamped on one side. II. iv. 31. Fantasy. Common in Elizabethan English in the sense of "love." The shorter form, "fancy," is also so used. Cf. III. v. 29; V. iv. 160. II. iv. 36. For metre cf . Introduction, p. 39, 4. II. iv. 38. Wearing. The later folios have "wearying," with the same meaning. II. iv. 40. Broke. Cf. Introduction, p. 42, 4, (b), and Ab- bott, §343. 176 NOTES. II. iv. 44. Searching of. Two constructions seem to be confused here: searching, as a participle, which would not require the of; and searching as a verbal noun, which would require "in" before it. Cf. hearing, II. vii. 4, for a similar confusion; and kissing and wooing in lines 49 and 52, below, for the correct modern construction. II. iv. 50. The first Folio has "batler." Both words denote an instrument with which washerwomen beat clothes. II. iv. 51. Chopt. Another form of "chapped." II. iv. 52. Peascod. Pea-pod. The choice of this particu- lar thing- seems to have been suggested by the practice according to which pea-pods were used for divination. A rustic maiden would place a pod with nine peas over the door, believing that the first man who entered was to be her husband. II. iv. 52-55. From whom . . . sake. The passage is obscure. If whom and her refer to Jane Smile, then these clauses do not describe "the wooing of a peascod instead of her." Some editors take whom and her, to refer to peascod, and, to make this fit better, interpret it as referring to the whole plant. But there seems to be no authority for this sense. Touchstone must not be expected to be very coherent. Weeping tears. Active for passive participle. The phrase is so common in Elizabethan English that it is unlikely that Shakspere meant it to be so ridiculous as it sounds to modern ears. II. iv. 57-58. Mortal in folly. "Exceedingly foolish, " is the usual explanation, as if = "mortal foolish," the form in the text being used to preserve the epigrammatic balance of the sentence. Schmidt suggests the interpretation, "human in folly." II. iv. 68. Clown. Touchstone of course uses the word in the sense of "rustic." Rosalind puns on the meaning of "jester." II. iv. 81. Do not shear, etc. Do not get the wool from the sheep that I feed. II. iv. 82. Churlish. Originally "rustic" then "discourte- ous," then "ungenerous," as here. II. iv. 85. Cote. Cottage, not "sheep-fold," as is proved NOTES. 177 by line 94, below, and III. ii. 449. Bounds of feed. Extent of pasturage. II. iv. 89. In my voice. So far as my authority goes. [ II. iv. 90. What. Who. II. iv. 93. Stand with honesty. Be consistent with honor- able dealing (towards Silvius) . II. iv. 97. Waste. Spend. II. iv. 101. Feeder. Shepherd. II. v. This scene does nothing to advance the action, and serves chiefly to introduce Jaques. It is entirely of Shak- spere's invention. II. v. 3. Turn. Tune, modulate. II. v. 19. Stanzo. An obsolete form of "stanza." II. v. 21. Names. It is suggested that there is a reference here to the Elizabethan use of "nomina" as "the names of the debts owed. " II. v. 29. Beggarly. Not "mean," but simply "like a beg- gar's." II. v. 31. Cover. Spread the table. II. v. 33. Look you. For the omission of "for," cf. Henry V., IV. vii. 76, "To look our dead," and cf. Introduction, p. 43,6, (b). II. v. 35. Disputable. Disputatious. II. v. 47. Note. Tune. II. v. 48. In despite of my invention. In spite, or scorn, of my (lack of) poetical powers. II. v. 55. Ducdame. Probably a nonsensical refrain, the explanation of which by Jaques is merely quizzical. II. v. 62. First-born of Egypt. The reference is presumably to Exodus xi. 5. Its appropriateness, if it has any, has not been satisfactorily explained. Johnson is usually quoted as saying that it is "a proverbial expression for high-born per- sons." II. vi. In Lodge's novel it is Adam that comforts Rosader. "Hunger growing on so extreme, Adam Spencer (being old) began first to faint, and sitting him down on a hill, and looking about him, espied where Rosader lay as feeble and as ill-perplexed : which sight made him shed tears, and to fall into these bitter terms . . . As he was ready to go for- ward in his passion, he looked earnestly on Rosader, and 178 NOTES. seeing- him change colour, he rose up and went to him, and holding his temples, said, 'What cheer, master? Though all fail, let not the heart faint : the courage of a man is showed in the resolution of his death.' " It is only when Adam pro- poses to open his own veins to relieve him that Rosader, "full of courage (though very faint) rose up, and wished Adam Spencer to sit there till his return : 'for my mind gives me,' quoth he, 'I shall bring thee meat.' With that, like a mad man he rose up, and ranged up and down the woods, seeking to encounter some wild beast with his rapier, that either he might carry his friend Adam food, or else pledge his life in pawn of his loyalty." (pp. 342-43 of Var.) The significance of Shakspere's change need not be pointed out. II. vi. 6. Uncouth. Unknown, strange. II. vi. 7. Savage. Wild. Literally, 2 "belonging to the woods," not necessarily "fierce." II. vi. 8. Conceit. Thought, fancy. II. vi. 10. Comfortable. "Usually explained as passive, but the word is always active elsewhere in Shakspere." (War.) II. vi. 11. Presently. Immediately. II. vi. 15. Well said! Well done! It is often so used in Shakspere when nothing has been said. Cf. Romeo and Juliet, I. v. 88, "Well said, my hearts," where Capulet is com- mending the dancing. Here it seems to refer to some effort made by Adam to look courageous.. II. vii. The first part of this scene serves to give Orlando time to find his way to the Duke's party, and is entirely Shakspere's invention. But its chief purpose is to elab- orate the background by unfolding further the characters of Jaques and Duke senior. The second part, after the entry of Orlando, is from Lodge, and helps on the action by establishing Orlando in the forest. II. vii. 1. I think he be. For the uncertainty implied in the use of the subjunctive, cf. Othello, III. iii. 384, "I think my wife be honest, and think she is not." II. vii. 4. Hearing of. Cf . II. iv. 44, note. II. vii. 5. Compact of jars. Composed of discords. Cf. NOTES. 179 Midsummer Night's Dream, V. i. 7-8, "The lunatic, the lover, and the poet Are of imagination all compact." II. vii. 6. Spheres. According- to the Ptolemaic system, which was still commonly held in Shakspere's time, the earth is the centre round which revolve eight concentric spheres, in which are fixed the sun, moon, the five then known planets, and the fixed stars. Each sphere in its motion gives forth a note, and the harmony of the eight notes is the "music of the spheres," inaudible to gross human ears. Cf. Merchant of Venice, V. i. 60: There's not the smallest orb which thou behold'st But in his motion like an angel sings Still quiring to the young-eyed cherubins. II. vii. 13. Motley. Referring to the parti-coloured cos- tume of the professional jester. II. vii. 19. The reference is to the proverb, "Fortune favors fools." II. vii. 20. Dial. A pocket-dial or a watch. The word was used of any instrument marked with hours for telling the time. Poke. A large pouch was a regular part of a jester's equipment. II. vii. 29. Moral. Usually taken as = "moralize." But Schmidt and Furness prefer to regard it as an adjective. II. vii. 32. Sans. In Shakspere's time this word was "actually adopted for a time as an English word." (Clar.) Cf. line 166, below. II. vii. 34. Wear. Costume. II. vii. 39. Dry. "In the physiology of Shakspere's time, a dry brain accompanied slowness of apprehension and a retentive memory." (Clar.) II. vii. 41. Observation. See Introduction, p. 40, 7. II. vii. 44. Suit. Probably a pun on the two meanings of "costume'? and "request." Cf. I. ii. 266, note. II. vii. 55. [Not to] . These words are not found in the Folios, but were supplied by Theobald. They improve the sense and complete the verse, which otherwise is defective. Bob. A smart blow, a taunt. II. vii. 56. Anatomized. Dissected and exposed. Cf. I. i. 170. 180 NOTES. II. vii. 57. Squandering glances. Hits made at random. II. vii. 63. Counter. A trifling- wager. A counter was a round piece of metal of little or no intrinsic value, used for reckoning. II. vii. 65-69. Note the significance of this description of the past life of Jaques in accounting for his present char- acter. In the next speech Jaques fails to meet the Duke's point. The Duke has pointed out that such satire as Jaques purposes would corrupt people and Jaques argues that if it were general, no individual would have a right to resent it. II. vii. 66. Brutish sting. Animal impulse. II. vii. 67. Embossed. Swollen. Headed evils. Sores grown to a head. II. vii. 71. Tax. Accuse. Cf. I. ii. 94, and II. vii. 86. The g-eneral sense of the passage is, "Why, how can a man who speaks against pride in general, be regarded as attack- ing anyone in particular? Is it not excessively common all around, exhausting the means of those who harbour it?" II. vii. 73. Wearer's. The Folios read "weary." The emendation is due to Singer. II. vii. 75. City-woman. Citizen's wife. Satire of tha extravagant aping of court fashions by the wives of city tradesmen was very common in Shakspere's time. II. vii. 76. Cost of princes. Clar. compares 2 Henry VI., I. iii. 83, "She bears a duke's revenues on her back." II. vii. 79. Function. Occupation. II. vii. 80. That says his finery is not bought at my expense. II. vii. 82. Mettle. Spirit, nature. He who gives the answer in line 80, implies that he is guilty of the kind of folly attacked. II. vii. 84. Bight. Justice. II. vii. 85. Free. Conscience-clear. II. vii. 86. Taxing. Cf . II. vii. 71, note. II. vii. 88. Eat. This form of the past participle occurs elsewhere in Shakspere. II. vii. 90. Of . . . of. Cf. Introduction, p. 43, 6, and Abbott, §407. NOTES. 181 II. vii. 93, 96. Civility. Courtesy, in a higher degree than the present use implies. Cf. "civil sayings," III. ii. 131. II. vii. 94. Vein. Humour. Your first question hit the truth as to my disposition. II. vii. 96. Inland bred. Bred in a civilized district, as opposed to an outlandish one. For metre, cf. Introduction, p. 39, 5. II. vii. 97. Nurture. Cultivation, breeding. II. vii. 100. An. If. II. vii. 108. Countenance. Cf. I. i. 20, note. II. vii. 118. Let gentleness strongly support my re- quest. II. vii. 125. Upon command. At your own order. II. vii. 128. Whiles. Adverbial genitive of while. It survives in modern English with an additional "t" in "whilst." II. vii. 132. Weak evils. Evils causing weakness. II. vii. 139. Wherein . . in. See Introduction, p. 43, 6. II. vii. 139 ff. With regard^ to this, the most famous speech in the play, it is to be remembered that the com- parison of life to a stage was long familiar before Shak- spere used it, that its technical purpose here is to fill in the gap of Orlando's absence, and that it is spoken by Jaques, who is not at all the kind of character into whose mouth Shakspere would be likely to put his own view of life. This is the more important since the description of the seven ages is made with Jaques's characteristic sneer at human nature. II. vii. 143. Seven ages. For earlier examples of similar divisions of the life of man, see Var. pp. 122-24. "The merit of Shakespeare is not that he invented this distribution, but that he has exhibited it more brilliantly, more impres- sively, than had ever been done before." (Hunter, quoted in Var.) II. vii. 148. Ballad. This word was used of almost any kind of short poem. II. vii. 150. Strange oaths. The affectation of foreign oaths by the soldier who had been abroad is often satirized in the drama of this time, e.g., Bobadil, in Ben Jonson's Every Man in His Humour. 182 NOTES. II. vii. 151. Sudden. Rash, hasty. The comma after this word is important, as indicating that it stands as a separate idea, and is not to be taken with in quarrel as a mere doublet of quick. II. vii. 154. Capon. Hales points out that there is a def- inite satirical allusion here. "It was the custom to pre- sent magistrates with presents, especially, it would seem, with capons, by way of securing their good will and favour." (Quoted in Var., p. 126, which see for corroborative evi- dence.) Lined. Pilled, stuffed. It is used by Shakspere in the modern sense also. II. vii. 155. Formal cut. As opposed to the fierce shaggi- ness of the soldier's. II. vii. 156. Saws. Maxims. Modern. Commonplace, trite, every -day. Cf. All's Well, II. iii. 1-3. "We have our phil- osophical persons, to make modern and familiar, things supernatural and causeless." Instances. This word is used by Shakspere in a variety of senses, among which are (1) proof ; (2) example, precedent ; (3) proverb. Schmidt and Var. prefer (3) ; but (2) also gives good sense here. For (1) cf. III. ii. 56. II. vii. 158. Pantaloon. The pantaloon was a stock char- acter in Italian comedy, in which he was represented as a foolish old dotard. II. vii. 163. His. The old neuter possessive. "Its" did not come into general use until the second half of the seven- teenth century. II. vii. 166. Sans. Cf . line 32 and note, above. II. vii. 175. Unkind. Literally, "unnatural"; but the modern sense seems equally good here. II. vii. 187. Warp. To twist out of shape, hence, to change. This may refer (1) to the change of the water to ice, or (2) to the ruffling of the surface in freezing. II. vii. 189. As friend remembered not. This has been taken in two ways : Thy sting is not so sharp (1) as that which a friend feels who is not remembered; (2) as that which a friend inflicts who does not remember,— the past participle being active in sense. Cf. III. v. 131, where "Now I am remembered" = Now I recollect. II. vii. 193. Effigies. Likeness. The accent is on the NOTES. 183 second syllable. This is not the plural of "effigy," but the Latin word unchanged. II. vii. 196. For metre, cf. Introduction, p. 39, 5. II. vii. 198. Thou. The pronoun used to an inferior. Contrast "you" in the lines addressed to Orlando. ACT III. III. i. This scene brings to a point the preliminary action at the court, and prepares matters so that Oliver's appearance in the forest in IV. iii. is plausible. III. i. 2. Better. Greater. III. i. 3. Argument. Subject. Cf. the use for the subject or contents of a book, as, e.g., the "argximent" prefixed to each book of Paradise Lost, and the use in I. ii. 299, for "grounds." III. i. 4. Thou present. The nominative absolute con- struction. III. i. 6. With candle. The allusion is probably to the parable of the woman who lost the pieces of silver, in Luke xv. 8. Quit. Acquit. Thee. Cf. Introduction, p. 41, Of such a nature. Whose special business it is. Extent. Valuation, usually with a view to tax- It was also used of a writ to seize the lands, etc., belonging to a debtor to the Crown, in order to compel payment. But here there is no question of debt, so the phrase, make an extent, is probably used vaguely for "seize." III. i. 18. Expediently. Expeditiously, quickly. III. ii. In this, the great central scene of the play, the complications reach their climax, and the unravelling begins. III. ii. 2. Thrice-crowned. The same goddess was known as Proserpina in the underworld, Cynthia (the moon) in the heavens, and Diana on earth. III. ii. 3. Pale sphere. The adjective seems to imply that sphere is used for the moon itself, and not for the sphere which carries it round, as described in II. vii. 6, note. III. i .11. 3, (b). III. i. 16. III. i. 17. ation. It a 184 NOTES. III. ii. 4. Thy huntress' '. Rosalind's. Full. Whole. III. ii. 6. Character. Write. This carving- on trees is a convention in pastoral poetry, at least as old as Vergil. III. ii. 10. Unexpressive. Inexpressible. She. Shakspere frequently uses she as a noun for "woman." III. ii. 13. In respect of. In comparison with. III. ii. 15. Naught. Worthless. Cf . I. ii. 71. III. ii. 33. Complain of. Complain of the want of. III. ii. 47. Parlous. Perilous. "The spelling, represents the [Elizabethan] pronunciation." (Clar.) III. ii. 53-54. But you kiss. Without kissing. III. ii. 56. Instance. Proof. Cf. II. vii. 156, note. III. ii. 57. Still. Constantly. III. ii. 58. Fells. Fleeces. III. ii. 59. Your. The indefinite use. Cf. V. iv. 64. III. ii. 65. More sounder. Cf . Introduction, p. 41, 2. III. ii. 67. Surgery. Doctoring. III. ii. 69. Civet. A perfume, something like musk, taken from the civet cat. III. ii. 72. Perpend. Reflect. The word is pedantic, and is used in Shakspere only by comic characters. III. ii. 78. Incision. This word is generally used in Shakspere of blood-letting, at that time a cure for almost any ailment. III. ii. 79. Raw. Ignorant, unsophisticated. Cf . Richard II., II. iii. 42, "Tender, raw, and young." III. ii. 83. Content with my harm. Patient under mis- fortune. III. ii. 87. Ind. In Elizabethan verse this word usually rhymes with "mind." III. ii. 91. Lined. Drawn. III. ii. 94. Fair. Beauty. For this substantive use, cf. Midsummer Night's Dream, I. i. 182, "Demetrius loves your fair." III. ii. 95. Tou. See Introduction, p. 42, 3, (c). III. ii. 97-98. The right butter-women's rank. The general sense seems to be that it jogs along like butter-women going to market. If "rank" is the correct reading, it must be used in the sense of "row," "file." But Clar. suggests very plausibly that we ought to read "rack" = a gait NOTES. 185 "between a trot and an amble. Right = true, regular. Cf. III. ii. 287, "right painted cloth." III. ii. 105. Winter. Fi and F2 read "wintred." III. ii. 113. False gallop. The phrase is used of a horse when in galloping he lifts the left foot first. (Var.) III. ii. 118. Graff. The earlier (and more correct) form of "graft." III. ii. 119. Medlar. A fruit, something like an apple, which is eaten when it has grown soft (but not rotten). It is chosen by Rosalind, of course, for the sake of the pun with "meddler." III. ii. 128. This a desert. The Folios read "this desert." Other editions emend to "this desert silent." III. ii. 131. Civil. The meanings suggested for civil in this passage are: (1) belonging to civilization (as opposed to the solitude of the desert); (2) decent, polite; (3) grave, solemn. Of these the last best suits the lines that follow. III. ii. 133. His. Its. Cf. II. vii. 163, note. Erring. Wan- dering (without moral significance). III. ii. 135. Buckles in. Encloses. III. ii. 139. Sentence end. Cf. Introduction, p. 41, 1. III. ii. 142. Quintessence. The medieval philosophers regarded the world as composed of four elements — fire, air, earth, and water— and a "fifth essence," which was to the world what the soul was to the body. III. ii. 143. In little. In miniature. III. ii. 144-155. With the whole passage, cf. Tempest, III. i. 42-8; For several virtues Have I liked several women; . . . . . . but you, O you, So perfect and so peerless, are created Of every creature's best! III. ii. 146. Wide-enlarged. "Spread through the world," (Schmidt). But it is equally probable that the meaning is "at their fullest." III. ii. 147. Presently. Immediately. III. ii. 150. Atalanta's better part. Atalanta was noted for her swiftness and beauty. She challenged her suitors to a foot-race ; if anyone outstripped her, he was to win her ; if 186 NOTES. she outstripped him, he was to die. It seems likely that her tetter part, then, was her athletic form, as opposed to her cruelty, implied in the harsh condition. III. ii. 151. Lucretia. A noble Roman lady "who was dis- honored by Sextus Tarquinius, and killed herself. Shak- spere tells the story in his Rape of Lucrece. III. ii. 153. Synod. Council. III. ii. 155. Touches. Qualities. Cf . V. iv. 27. III. ii. 157. And I to live. Cf . Abbott, § 416, for other instances where the second of two infinitives following- an auxiliary has 'to" where we should omit it and perhaps repeat the auxiliary. III. ii. 158. Pulpiter. n Preacher. The Folios read "Ju- piter," but this change suits the context so well that it has been generally adopted. III. ii. 166. Scrip. Pouch. III. ii. 174. Without. Outside of. III. ii. 179. Nine days. This was the proverbial length of time for a wonder to possess the popular mind. III. ii. 181. Palm tree. The tropical characteristics of the Forest of Arden are taken from Lodge's novel. III. ii. 182. Berhymed, etc. Var. quotes many references to this supposed method of killing rats. Pythagoras. To him was attributed the doctrine of the transmigration of souls. III. ii. 190-92. The reference is to the proverb, "Friends may meet, but mountains never greet." III. ii. 199. Out of all hooping. Beyond what can be expressed by exclamations. The modern spelling is "whooping." III. ii. 200. Good my complexion! My good complexion! Cf. I. ii. 1, note. The exclamation is evidently occasioned by her blushes. III. ii. 202-204. One inch . . . discovery. The least additional delay suggests so many questions, that the answering of them will be as great a matter as exploring the Pacific. III. ii. 211. Of God's making? "Or his tailor's?" (Clar.) III. ii. 216. Stay. Wait for. III. ii. 222-23. Speak sad brow, etc. Speak with a serious face and as a true maid. For construction cf. III. ii. 287-88. NOTES. 187 "I answer you right painted cloth," and Introduction, p. 43, 6, (b.) III. ii. 230. Wherein. In what costume. III. ii. 235. Gargantua. A giant with an enormous appe- tite, about whom "Rabelais wrote a romance. III. ii. 241. Freshly. Cf . Introduction, p. 43, 5, (b) . III. ii. 243. Atomies. Atoms. Used especially of the motes in the sunbeams. Resolve. Solve. III. ii. 246. Observance. Attention. III. ii. 248. Jove's tree. The oak was sacred to Jupiter. III. ii. 258. Holla. Stop, a call to horses. Cf. "curvets" in next line. III. ii. 259. Heart. For the pun on "hart," cf. Julius Caesar, III. i. 207-208. O world, thou wast the forest to this hart And this, indeed, O world, the heart of thee. III. ii. 260. Burden. Under-song, accompaniment. III. ii. 261. Bringest. Puttest. III. ii. 271. God huy you. The usual Shaksperean equiva- lent of "good-bye." III. ii. 275. Moe. More. III. ii. 285. Goldsmith's wives, etc. According to Furness, it was customary for the wives of shopkeepers to sit before their doors and entice the young gallants to buy. Jaques implies that Orlando was in the habit of hanging about such places and learning by heart the mottoes engraved on the rings. III. ii. 287-88. Bight painted cloth. Rooms were hung with canvas painted with scriptural and other scenes, and orna- mented with scrolls on which were written pithy saying's. Cf. Lucrece, 244, Who fears a sentence, or an old man's saw, Shall by a painted cloth be kept in awe. Cf., for right, III. ii. 97-98, note; and, for construction, III. ii. 222-23, and Introduction, p. 43, 6, (b). III. ii. 291. Atalanta's heels. Cf . III. ii. 150, note. III. ii. 323, 324, 325. Who. Cf. Introduction, p. 43, 3, (a). III. ii. 328. Trots hard. It seems best to take hard in the sense of "uneasily," "uncomfortably," so that the week 188 NOTES. seems as long as seven years. But Furness and others take hard = "fast," implying- that the bride goes through the emotions of seven years in so many days. III. ii. 354. Cony. Rabbit. Ill ii. 355. Kindled. Born. III. ii. 357. Purchase. Acquire. III. ii. 358-66. In this speech Rosalind makes a second attempt to bring the conversation round to love. Cf . line 316, above. III. ii. 359. Religious. Belonging to a religious order, monastic. III. ii. 360. Inland. Cf. II. vii. 96, note. III. ii. 361. Courtship. Used in the double sense of "court- iership" and "love-making." III. ii. 364. Touched. Tainted. III. ii. 365. Taxed. Blamed. Cf. II. vii. 71. III. ii. 375. There is a man haunts. Cf. Introduction, p. 42, 3, (d). III. ii. 380. Fancy-monger. Used contemptuously for "dealer in love fancies." III. ii. 382. Quotidian. A fever recurring daily. III. ii. 390-91. Blue eye. Blue round the eye. III. ii. 392. Unquestionable. Averse to conversation. III. ii. 394. For simply, etc. For, in simple truth, your possession in the way of a beard is as small as the revenue that a younger son gets. III. ii. 400-401. Point-device. (Fr., d point d&vis.) Scrupu- lously correct. III. ii. 419. Merely. Cf. note on line 442, below. III. ii. 420. A dark house and a u>hip. Formerly the usual treatment for lunacy. III. ii. 429. Moonish. Inconstant, variable. III. ii. 436-37. Entertain. Receive graciously. III. ii. 439. Humour. Whim. In the next line it means "disposition," "tendency." III. ii. 440. Living. Real. III. ii. 442. Merely. Entirely, the usual sense in Eliza- bethan English. Cf . line 419, above, which, however, may have the modern sense. III. ii. 444. Liver. The supposed seat of the passions. NOTES. 1S9 III. iii. In this scene the comic underplot is introduced. There is nothing- corresponding to it in Lodge. III. iii. 3. Feature. Used of personal appearance in gen- eral. The word is not intelligible to Audrey. III. iii. 8. Capricious. A pun on Lat., caper, a goat. Goths is, of course, a pun on "goat." Augustus banished Ovid to Tomi, in the land of the Getae, on the Black Sea. III. iii. 10. Ill-inhaMted. Having an unsuitable habita- tion. III. iii. 11. Jove in a thatched house. Referring to the story in Ovid of Jupiter and Mercury who, in the form of men, were hospitably entertained by two aged peasants, Baucis and Philemon, in their thatched cottage. III. iii. 15-16. A great reckoning, etc. A heavy bill for poor accommodation. III. iii. 22-23. May he said, etc. Two constructions are here confused: (1) may be said to be feigne'd; (2) it may be said they do feign. To avoid this some editors insert "it" before may. III. iii. 27. Honest. Virtuous. Cf. I. ii. 43. III. iii. 30. Hard-favoured. Plain-looking. III. iii. 33. Material. Full of matter, or ideas. III. iii. 40. Foul. The word means "homely" as well as "dirty." Audrey uses it in the former sense. III. iii. 44. Sir. This title was applied not only to knights, but to those who had taken the degree of B. A. at a University, and so, loosely, to all clergymen, who on this account were known as "the pope's knights." III. iii. 51. Stagger. Hesitate. III. iii. 54, 57, 59. Horns. It was a standing Elizabethan joke that a man whose wife was unfaithful wore horns. III. iii. 61. Rascal. A deer out of condition. III. iii. 63. More worthier. Cf. Introduction, p. 41, 2. III. iii. 66. Defence. The art of self-defence. III. iii. 67. Horn. There seems to be here an additional reference to the horn as the symbol of plenty, in antithesis to want. The same double use occurs in 2 Henry IV., I. ii. 52, "He hath the horn of abundance, and the lightness of his wife shines through it." III. iii. 70. Dispatch us. Settle our affair. 190 NOTES. III. iii. 79. God 'ild you. God yield you, reward you. III. iii. 81. Be covered. Jaques had taken off his hat. III. iii. 83. Bow. The curved piece of wood partially encircling- the neck of an ox, and forming- part of the yoke. III. iii. 84. Falcon her. The falcon is properly the female hawk, the male being called a "tercel." III. iii. 95-96. I am not in the mind but I were tetter. I am not sure that it would not be better for me. The phrase "I were better" is formed on the analogy of "you were bet- ter," where "you" was originally a dative, ( = "it were better for you,") but came to be mistaken for a nominative. See Abbott, §§ 230, 352. III. iii. 102, 110. We must be< married . . . I will notto wed- ding with thee. The inconsistency here may perhaps be ex- plained (if Shakspere meant it to be explicable) by suppos- ing that before Touchstone sings this fragment of an old song, he goes apart to listen to the counsel offered by Jaques, and is persuaded to postpone the wedding. "The marriage is deferred in order that Touchstone and Audrey may form a fourth couple at the wedding in the|last scene." (War.) III. iv. The prose part of this scene has no counterpart in Lodge. III. iv. 7. Dissembling colour. Red hair was supposed to signify deceitfulness, and Judas was conventionally repre- sented as red-haired. III. iv. 13. Kisses. It is to be remembered that at the end of Scene ii. Orlando and Rosalind went off together, after the arrangement for the mock wooing, so that we did not see the end of the interview. III. iv. 15. Cast. Discarded. But Furness interprets it as "chaste." III. iv. 36. Question. Conversation. Cf. "unquestionable" in III. ii. 392. III. iv. 41. Brave. Fine. Cf. "bravery" = finery. III. iv. 44. Traverse. Across. To break a lance tnus was considered clumsy and disgraceful. III. iv. 45. Puisny. Literally, "born later" = "younger," and so inferior: The modern spelling is "puny"="small." III. iv. 51. Who. Cf. Introduction, p. 41, 3, (a). III. iv. 60. For metre, cf. Introduction, p. 39, 3. NOTES. 191 III. v. This scene introduces the pastoral underplot. III. v. 3. For metre, cf . Introduction, p. 39, 5. III. v. 5. Falls. Lets fall. For intransitive verbs used transitively, cf . Abbott, § 291. III. v. 7. The order is inverted. "He that lives by bloody- drops, and dies," i.e., "until he dies," "all his life." III. v. 13. Atomies. Cf . III. ii. 243, note. III. v. 23. Cicatrice. Scar. Capable irnpressure. Percep- tible impression. III. v. 26. Nor ... no. Cf. Introduction, p. 42, 5, (a;. III. v. 29. Fancy. Love. Cf . II. iv. 31. III. v. 39. Than that you may go to bed without its being worth while to have light to gaze on it. III. v. 42. For metre c,f. Introduction, p. 39, 5. III. v. 43. Sale-work. "Ready-made goods. " (Clar.) 'Od'e. A corruption of "God's." Cf. IV. iii. 18, note. III. v. 47. Bugle. A glass bead. III. v. 48. Entame. Make tame. III. v. 49. For metre, cf . Introduction, p. 39, 5. III. v. 51. Properer. Handsomer. III. v. 53-54. Makes . . . flatters. Cf. Introduction, p. 42, 4, (a). III. v. 55. Out of you. As reflected by your admiration. III. v. 61. Cry the man mercy. Ask the man's pardon. III. v. 62. An ugly woman is most ugly when she is ill- natured besides. For foul, cf. III. iii. 40, note. III. v. 74. For metre, cf . Introduction, p. 39, 5. III. v. 79. Abused. Deceived. III. v. 81. Dead shepherd. Christopher Marlowe (1564- 1593), the greatest of Shakspere's predecessors in the English drama. The next line is from his poem of "Hero and Leander." Cf . Introduction, p. 29. It was a convention in pastorals for poets to speak of one another as shepherds. Cf., e.g., Milton's "Lycidas." Saw. Saying. Cf. II. vii. 156. III. v. 90. Neighbourly. "In accordance with my duty as a neighbour," referring to the Scripture, "Thou shalt love thy neighbour as thyself." III. v. 93. It. The time. III. v. 100. Poverty of grace. Lack of favors. 192 NOTES. III. v. 108. Carlot. Diminutive of carle = churl = peas- ant. III. v. 110. 'T. Cf. I. i. 154, note. Peevish. Childish, wayward. III. v. 118. For metre, cf . Introduction, p. 39, 5. III. v. 123. Constant. Uniform. Mingled damasK. Red and white. Cf. Sonnet cxxx., 5, "I have seen roses damasked, red and white" ; and Love's Labour's Lost, V. ii. 295-97: Fair ladies masked are roses in their bud ; Dismasked, their damask sweet commixture shown, Are angels vailing clouds, or roses blown. III. v. 125. In parcels. Part by part. III. v. 131. Am remembered. Recollect. Cf. II. vii. 189, note. III. v. 133. Omittance, etc. A proverb. "Though I omitted to pay him back, yet wo are not quits . " A parallel has often been cited from Milton, Paradise Lost, X. 52-53, "But soon shall find Forbearance no acquittance ere day end." III. v. 136. Straight. Straightway. III. v. 138. Passing. Surpassingly. ACT IV. IV. i. In the matter of plot, this scene is merely a contin- uation of III. ii, where, the mock-wooing was proposed. It serves, however, to bring out still further the characters of Jaques and Rosalind, and shows a gradual increase in inti- macy between Rosalind and Orlando. IV. i. 7. Modem. Ordinary, commonplace. Cf. II. vii. 156. Censure. In Elizabethan English this word usually means merely "opinion," "judgment." But here there may be a shade of the modern adverse sense, as there is in 1. 206 below. IV. i. 15. Nice. Fastidious. IV. i. 17. Simples. Single elements ; used of the ingredi- ents of a drug. IV. i. 19-21. The text seems corrupt here. F x reads "by" in line 20, where our text, following the later Folios, reads "my." Jaques evidently means to say that the contempla- tion of his travels and frequent rumination on them produce NOTES 193 his particular kind of melancholy, a most humorous (i.e., whimsical) sadness. IV. i. 33. God buy you. Cf. III. ii. 271, note. An. If. Cf. ne 43, below. IV. i. 40. Swam in a gondola. Been in Venice. The litera- ture of Shakspere's time abounds in satirical passages on ■ he effect of Italian travel on Englishmen. IV. i. 51-52. Clap2oedhim on the shoulder. Editors are divided as to whether this means (1) encouraged, or (2) arrested. IV. i. 63. Horns. Cf. III. iii. 54, note. IV. i. 65. Armed in his fortune. Furnished with what it is his destiny to wear. Prevents. Anticipates. IV. i. 71. Leer. Originally "cheek," "face." IV. i. 77. You were better. Cf . III. iii. 95-96, note. IV. i. 78. Gravelled. Stuck in the sand, and so unable to proceed. IV. i. 80. Out. At a loss. IV. i. 89-90. I should think myself more virtuous than quick-witted if I could not put you out. IV. i. 99. By attorney. By proxy. IV. i. 101. There was not any man died. Cf . Introduction, p. 42, 3, (d). IV. i. 102. Troilus. Son of Priam and lover of Cressida, killed by Achilles in the Trojan War, after Cressida had proved faithless. He is the hero of Chaucer's Troilus, and Shakspere's Troilus and Cressida. IV. i. 106-113. Leander and Hero lived respectively at Abydos and Sestos, on opposite sides of the Hellespont. According to the Greek story, retold in English in Shak- spere's time by Marlowe and Chapman, Leander was drowned swimming across to Hero. IV. i. 145. Commission. Authority. IV. i. 147. There's a girl goes, etc. She says she takes Orlando before the priest has asked her. For grammar, cf . Introduction, p. 42, 3, (d). IV. i. 160. Against. Before. IV. i. 163. Diana. It is not evident that Shakspere had any particular statue in mind here. IV. i. 165. Eyen. Laughing hyena. IV. i. 171. Make. Shut. 194 NOTES IV. i. 172. Will out. Cf. Introduction, p. 42, 4, (c). IV. i. 177. Wit, whither wilt? The phrase was a common saying for "What are you after?" IV. i. 181. Her husband's occasion. Of her husband's causing. IV. i. 202. Pathetical. The word is used by Shakspere in the sense of "moving," "affecting to the feelings." But here it is usually interpreted as a misuse, in the sense of "shocking." IV. i. 206. Censure. Cf . line 7 above, note. IV. i. 207. Religion. Strict observance. IV. i. 211. Misused. Abused, libelled. IV. i. 220. The bay of Portugal. This name is "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. " (Clar. ) IV. i. 224. Thought. Brooding. IV. i. 225. Spleen. Capricious passion. IV. i. 230. Shadow. A shady spot. IV. ii. From the point of view of action, this scene serves chiefly to represent the passage of the time of Orlando's absence. IV. ii. 13. Stage direction. The rest, etc. In Fi, this stage direction is printed as part of the text, and some editors have so retained it. IV. iii. The first part of this scene carries on the pastoral underplot. The second shows us Rosalind's power of acting her part when taxed to the uttermost, and opens the Oliver- Celia plot. In this last part, however, any suggestion of the love about to spring up between these two has to be derived from their supposed gestures and looks rather than their words. IV. iii. 5. Sleep. The audience is, of course, led to expect "hunt." IV. iii. 18. Phoenix. A fabulous bird supposed to be re- born from its own ashes every five hundred years. Only one existed at a time. 'Ods. Cf. III. v. 43, note. Furness plausibly suggests that the frequency of these oaths in Rosalind's mouth is to be interpreted as part of her attempt to assume a "swashing and a martial outside." NOTES 195 IV. iii. 24. Turned into. Brought into. (Clar.) IV. iii. 35. Giant-rude. Cf. neighbour bottom, in line 81 "below, and cf. Abbott, § 430, for similar compounds. IV. iii. 49. Vengeance. Harm. IV. iii. 51. Eyne. Eyes. This is the A. S. plural ending which still survives in "oxen." IV. iii. 54. Aspect. Probably the astrological term, de- noting the propitious or unpropitious appearance of a planet. Cf. Introduction, p. 40, 7. IV. iii. 60. Kind. Nature. IV. iii. 63. Deny. Refuse. IV. iii. 69. Instrument. Used punningly in the two senses of a tool and a musical instrument. IV. iii. 81. Neighbour bottom. Neighbouring dell. Cf. note on verse 35, above. IV. iii. 82. Bank of osiers. Row of willows. Cf. III. ii. 98, note. IV. iii. 89. Favour. Appearance. Cf. V. iv. 27. Bestows. Conducts. IV. iii. 90. Bipe. Grown up. It has been proposed to emend ripe sister to "right forester," which, though change is not absolutely necessary, gives very good sense and cor- rects the defective metre. IV. iii. 96. Napkin. Handkerchief. IV. iii. 100. Handkercher. This represents the pronuncia- tion still surviving in some parts. IV. iii. 104. Chewing the food. This is most frequently quoted "chewing the cud"= revolving. But there is neither authority nor necessity for the change. IV. iii. 109 ff. This description of Oliver's appearance, added by Shakspere, suggests the length of his wanderings and so helps to prepare us for his change of heart. IV. iii. 112. Who. For "who" used where modern Eng- lish requires "which" cf. line 134, below, and Abbott, §264. IV. iii. 117. With udders all drawn dry. And so, by impli- cation, fierce with hunger. IV. iii. 125. Bender him. Describe him as. IV. iii. 128. To. As to. IV. iii. 134. Cf. line 112, note, above. 196 NOTES. IV. iii. 134. Hurtling. Noise of conflict. Cf . Julius Cae- sar, II. ii. 22, "The noise of battle hurtled in the air." IV. iii. 137. Contrive. Plot. Cf . I. i. 157. IV. iii. 138. Do not shame. Am not ashamed. IV. iii. 141. For. As for. IV. iii. 143. Becountments. Narratives. IV. iii. 144. As. As, for instance. IV. iii. 153. Recovered. Restored. IV. iii. 174. A passion of earnest. A real emotion. ACT V. V. i. This farcical scene comes as a relief after the emo- tional intensity of the close of the last act, and serves as a transition to the joyousness of the reconciliations and recognitions of the denouement. V. i. 13. We shall he flouting. "We must have our joke." (Clar.) V. i. 14. Hold. Restrain ourselves. V. i. 16. God ye. God give you. V. i. 35-39. The heathen . . . open. "What he says of the *heathen philosopher' is occasion'd by seeing his hearer stand gaping (as well he might), sometimes looking- at him, sometimes the maid, who, says he, is not a grape for your lips." (Capell, quoted in Var.) V. i. 47. Ipse. Lat., "he himself." V. i. 60. Bastinado. A cudgelling. Bandy. Contend. V. i. 66. Seeks. For grammar, cf . Introduction, p. 42, 4, (a) . But it may be merely a misprint. V. ii. This scene is a business-like preparation for the final disentanglement. Each of the complications is brought to a point where a single touch will put all to rights. V. ii. 1. Is't possible, etc. The sudden conversion of Oliver with the equally sudden consenting of Celia, is considered by many critics the one serious blot on the play. V. ii. 5. Persever. This is Shakspere's usual spelling. The accent is on the second syllable. Cf . Introduction, p. 40, 7. V. ii. 14. Estate. Settle. He ignores the fact that Duke Frederick had confiscated all his possessions. V. ii. 31. Handkercher. Cf. IV. iii. 100, note. NOTES. 197 V. ii. 32. Greater wonders. His falling in love with Celia. V. ii. 33. Where you are. What you mean. In this speech Shakspere attempts to disarm criticism of the sudden woo- ing of Oliver and Celia by anticipating the objections. V. ii. 35. Thrasonical. Boastful. From Thraso, the brag- gart soldier in Terence. V. ii. 36. "I came,' 1 ' 1 etc. Veni, vidi, vici; the dispatch said to have been sent to the Senate by Caesar after his defeat of Pharnaces, king of Pontus in Asia Minor, b.c. 47. V. ii. 42. Degrees. In the literal sense of "steps." V. ii. 44. Incontinent. Immediately. V. ii. 45. Wrath. Ardor. V. ii. 46. Clubs. These were the weapons ordinarily used, especially by the London apprentices, to part combatants. V. ii. 61. Conceit. Intelligence. V. ii. 63. Insomuch. Because. V. ii. 66. To grace me. To advance myself. V. ii. 69. Conversed. Associated. V. ii. 70. Damnable. Sorcery was considered diabolical and was punished with death. Rosalind's magician was a harmless one. V. ii. 72. Gesture. The usual interpretation is "bearing," "behavior," though Shakspere does not seem to use it else- where in so general a sense. For it, cf . I. iii. 123. V. ii. 76. Inconvenient. Disagreeable. V. ii. 77. Human. Not in any ghostly form, such as you might expect from magic. V. ii. 80-81. Tender. Cherish. Cf . note on damnable in line 70, above. V. ii. 85. Comes. Cf. Introduction, p. 42, 4, (a). V. ii. 106. Observance. Respect. It seems likely that either this word or the observance in verse 108 is a mistake. "Obe- dience," "obeisance," "endurance," "perseverance," are some of the conjectural emendations. V. iii. The object of this scene is primarily to afford an interval before the final scene where all the complications are solved. V. iii. 4. Dishonest. Immodest. Cf. "honest," in I. ii. 43. V. iii. 5. Woman of the world. Married woman. V. iii. 11. Clap inWt roundly. Begin at once. 198 NOTES V. iii. 13. The only. Only the. For the inversion cf. I. ii. 209. V. iii. 14. A. For this use of the article for the numeral, cf. Othello, II. iii. 212, "at a birth" ; All's Well, I. iii. 244, "of a mind," etc., and the current phrases "at a sitting," "in a word," etc. V. iii. 30-33. In the Folio this last stanza is printed second. Modern editors have followed the better arrangement found in a version of the song in a MS. in the Advocates' Library in Edinburgh. V. iii. 35. Matter. Sense. V. iii. 40. God buy you. Cf . III. ii. 271, note. V. iv. The effort in this final scene is to give the greatest possible effect by untying as many knots as possible at once, and so to intensify the happy ending of conventional comedy. The conversion of Duke Frederick is Shakspere's own, and, like the conversion of Oliver, has been adversely criticized. V. iv. 4. The hope is uncertain ; the fear is uncertain. V. iv. 5. Compact. For accent, cf. Introduction, p. 40, 7. V. iv. 27. Lively touches. Life-like characteristics. Cf. III. ii. 155. Favour. Appearance. Cf. IV. iii. 89. V. iv. 32. Desperate. Dangerous, because of the laws against magicians. Cf . V. ii. 70, note. V. iv. 35. Toward. At hand. V. iv. 40. Good my lord. Cf . I. ii. 1, note. V. iv. 45. Purgation. Proof. Measure. A stately dance. V. iv. 48. Undone. Ruined by not paying his bills. V. iv. 49. Like. Was likely. V. iv. 50. Ta'en up. Made up. Cf . line 107, below. V. iv. 56. 'Ild. Yield, reward. Cf . III. iii. 79. You of the like. The same to you. V. iv. 58. Copulatives. People wishing to be married. V. iv. 60. Ill-favoured. Cf . V. iv. 27, note. V. iv. 64. Your. Cf . III. ii. 59, note. V. iv. 65. Sententious. Given to pithy sayings. V. iv. 67. Fool's bolt. Referring to the proverb, "A fool's bolt is soon shot. " A oolt is a blunt-pointed arrow. V. iv. 68. Dulcet diseases. This nonsensical phrase is only an instance of Touchstone's love of using fine words, irre- spective of meaning. NOTES. 19$ V. iv. 72. Seeming. In seemly fashion. V. iv. 73. Dislike. Express dislike of. V. iv. 81. Disabled. Said he thought little of. V. iv. 97. Quarrel in print, by the book. The whole passage has satirical reference to the books on fencing then fashion- able, which discussed such questions as "Of Honor and Honorable Quarrels," "Of the Manner and Diversity of Lies." For titles and contents of such volumes, cf. Var., pp. 274-76. V. iv. 107. Take up. Cf. note on line 50, above. V. iv. 115. Stalking-horse. A real or artificial horse, under cover of which hunters used to approach their game without being seen. V. iv. 116. Presentation. Show, cover. V. iv. 118. Hymen. The god of marriage. He was a fre- quent figure in masques and pageants of this nature, both in the marriage scenes of plays at this period and at actual weddings. Cf . the masque of Juno in The Tempest, IV. i. V. iv. 118. Stage direction. Still. Soft. V. iv. 120. Atone. Are set at one, reconciled. V. iv. 124-25. Her hand . . . his bosom. The Pi and F 2 read "his hand," and all the Polios, "his bosom." If the readings in the text are to be taken, we must understand the antecedent of whose to be her in line 124. V. iv. 140. Holds true contents. Is true. V. iv. 158. Even daughter, etc. I call you daughter, since you are no less welcome than if you were my daughter. V. iv. 160. Fancy. Cf. II. iv. 31, note, and III. v. 29. V. iv. 166. Addressed a mighty power. Prepared a great force. V. iv. 170. Religious. Cf . III. ii. 359, note. V. iv. 171. Question. Conversation. Cf. III. iv. 36, note. V. iv. 177. Offer'st fairly. Makest a fair offering or wed- ding gift. V. iv. 180. Do those ends. Complete those matters. V. Iv. 182. Every. For use as pronoun, cf . Abbott, § 12. V. iv. 183. Shrewd. Hard. V. iv. 185. States. Ranks. V. iv. 192. Pompous. Full of pomp and ceremony. V. iv. 194. Convertites. Converts. 200 NOTES. V. iv. 197. Deserves. For grammar, see Introduction, p. 42,4, (a). V. iv. Observe how in this parting scene Jaques again shows his characteristic quality to be curiosity rather than sympathy. Epilogue. This is spoken in his own person by the boy who acted the part of Rosalind. 4. Good wine needs no hush. A proverb meaning that good wares need no advertisement. A bush or garland of ivy, the plant sacred to Bacchus, was frequently hung as a sign before taverns. H. C. Hart (quoted by Var., p. 206) cites Gerard Leigh (1591) to show that the custom and the prov- erb had a further significance, since vessels made of ivy- wood were used to test the purity of wine. 9. Insinuate. Ingratiate myself. Cf. Venus and Adonis, 1012, "With Death she humbly doth insinuate." 11. Furnished. Dressed, equipped. 22. Liked. Pleased. 23. Defied. Despised. WORD INDEX. A, V. iii. 14. a many, IV. ii. 199. abused, III. v. 79. addressed, V. iv. 1(56. against, IV. i. 160. Aliena, I. iii. 129. all points, I. iii. 117. allottery, I. i. 80. amaza, I. ii. 119. an, II. vii. 100: IV. i. 33. anatomize, I. i. 170. anatomized, II. vii. 56. argument, I. ii. 299; III. i. 3. armed in his fortune, IV. i. 65. as, II. i. 6; IV. iii. 144. aspect, IV. iii. 54. Atalanta, III. ii. 150, 291. atomies, III. ii. 243; III. v. 13 atone, V. iv. 120. attorney, IV. i. 99. Ballad, II. vii. 148. bandy, V. i. 60. Barbary, IV. i. 159. bars me, I. i. 22. bastinado, V. i. 60. batlet, II. iv. 50. Bay of Portugal, IV. i. 220. be, II. vii. 1. be naught, I. i. 40-41. beggarly, II. v. 29. bequeathed, I. i. 2. berhymed, III. ii. 182. best (thou wert), I. i. 160. bestows, IV. iii. 89. better, III. i. 2. bills, I. ii. 134. blue eye, III. ii. 390-91. bob, II. vii. 55. bolt, V. iv. 67. bonny, II. iii. 8. bounds of feed, II. iv. 85. bow, III. iii. 83. brave, III. iv. 41. bravery, II. vii. 80. breathed, I. ii. 237. bringest, III. ii. 261. broke, II. iv. 40. broken music, I. ii. 154. brother, II. ii. 17. brutish sting, II. vii. 66. buckles in, III. ii. 135. bugle, III. v. 47. burden, III. ii. 260. burghers, II. i. 23. bush, Epilogue, 4. but I, I. ii. 18. but you kiss, III. ii. 53-54. butter-women's rank, III. ii. 97. Calling, I. ii. 253. candle, III. i. 6. capable, III. v. 23, capon, II. vii. 154. capricious, III. iii. 8. carlot, III. v. 108. cast, III. iv. 15. Celia, I. ii. 92. censure, IV. i. 7, 206. change, I. iii. 103, character, III. ii. 6. charged, I. i. 4. chase, I. iii. 33. chewing the food, IV. iii. 104. choke, II. iii. 61. chopt, II.iv.51. churlish, II. iv. 82. cicatrice, III. v. 23. city-woman, II. vii. 75. civet, III. ii. 69. 201 202 WORD INDEX. civil, III. ii. 131. civility, II. vii. 96. clap, V. iii. 11. clapped him o' the shoulder, IV. i. 51-52. clown, II. iv. 68. clubs, V.ii.46. coat, I. iii. 17. colour, I. ii. 111. comes, I. ii. 128; V. ii. 85. comfortable, II. vi. 10. commission, IV. i. 145. compact, V. iv. 5. compact of jars, II. vii. 5. complain of, III. ii. 33. complexion, III. ii. 200. conceit, II. vi. 8; V. ii. 61. condition, I. ii. 284. condition of blood, I. i. 50. consent, II. ii. 3. constant, III. v. 123. content, II. iii. 68 : III. ii. 83 contents, V. iv. 140. contrive, IV. iii. 137. contriver I. i. 157. conversed, V. ii. 69. convertites, V. iv. 194. cony, III. ii. 354. cope, II. i. 67. copulatives, V. iv. 58. cost of princes, II. vii. 76. cote, II. iv. 85. could, I. ii. 267. countenance, I. i. 20; II. vii. 108. counter, II. vii. 63. courtesy of nations, I. i. 51. courtship, III. ii. 361. cousin, I. iii. 43. cover, II. v. 31. covered, III. iii. 81. cross, II.lv. 12. cry . . . mercy, III. v. 61 curtle-axe, I. iii. 118. Damnable, V. ii. 70. dark house, III. ii. 420. dead shepherd, III. v. 81. dearly, I. iii. 35. defence, III. iii. 66. defied, Epilogue, 23. degrees, V. ii. 42. deny, IV. iii. 63. desert, III. ii. 128. deserve, I. iii. 37. deserves, V. iv. 197. desperate, V. iv. 32 despite, II. v. 48. Destinies decree, I. ii. 115. device, I. i. 183. dial, II. vii. 20. Diana, IV. i. 163. disabled, V.iv. 81. dishonest, V. iii. 4. dislike, V. iv. 73. dispatch, III. iii. 70. disputable, II. v. 35. dissembling colour, III, iv. 7. diverted, II. iii. 37. do not shame, IV. iii. 138. do those ends, V. iv. 180. dole, I. ii. 142. doublet, II. iv. 6. down, I. ii. 234. dry, II. vii. 39. ducdame, II. v. 55. dulcet diseases, V. iv. 68. Eat, II. vii. 88. effigies, II. vii. 193. Egypt, Iii v. 62. embossed, II. vii. 67. enforcement, II. vii. 118. entame, III. v. 48. entertain, III. ii. 436. envious, I. ii. 261. erring, III. ii. 133 estate, V. ii. 14. even daughter, V. iv. 158 every, V. iv. 182. exceeded, I. ii. 264. exile, II. i. 1. expediently, III. i. 18. extent, III. i. 17. eyne, IV. iii. 51. WORD INDEX. 203 Fair, III. ii. 94. falcon her, III. iii. 84. falls, III. v. 5. false gallop, III. il. 113. fancy, III. v. 29; V. iv. 160. fancy-monger, III. ii. 380. fantasy, II. iv. 31. favour, IV. iii. 89; V. iv. 27. feature, III. iii. 3. feed, II. iv. 85. feeder, II. iv, 101. fells, III. ii. 58. first-born, II, v. 62. fleeces, II. iv. 81. fleet, I. i. 128. flouting, V. i. 13. flux, II. i. 52. fond, II. iii. 7. fools, II. i. 22. fool's bolt, V. iv. 67. for, IV. iii. 141. Forest of Arden, I. i. 124-25. forked heads, II. i. 24. formal cut, II. vii. 155. fortune, II. vii. 19. forwardness, I. ii. 163. foul, III. iii. 40; III. v. 62. free, II. vii. 85. freshly, III. ii. 241 friends, I. iii. 63. full, III. ii. 4. function, II. vii. 79. furnished, Epilogue, 11. Gallant, II. ii. 17. gamester, I. i. 179. Gargantua, III. ii. 235. gentle, I. i. 50. gesture, V. ii. 72. giant-rude, IV. iii. 35. girl goes, IV. i. 147. go about, I. i. 190. God buy you, III. ii. 271; IV. i. V. iii. 40. God 'ild you, III. iii. 79. God ye, V. i. 16. God's making, III. ii. 211. golden world, I. i 129. goldsmiths' wives, III. ii. 285. good my complexion, III. ii.200. good my lord, V. iv. 40. good wish, I. iii. 25. grace, I. i. 162; V. ii.66. gracious, I. ii. 205. graff, III. ii. 118. gravelled, IV. i. 78. great reckoning, III. iii. 15. greater wonders, V. ii. 32. grow upon, I. i. 94. Handkercher, IV. iii. 100; V. ii. 31. hard-favoured, III. iii. 30. harm, III. ii. 83. have with you, I. ii. 276. he, 1.1.181. headed evils, II. vii. 67. hearing of, II. vii. 4. heart, III. ii. 259. heathen philosopher, V. i. 35-39. her hand, V. iv. 124. Hero, IV. i. 106-113. him, I. i. 48. hinds, I. i. 22. his, II. vii. 163; III. ii. 133. his son, I. ii. 257. hold, V. i. 14. holds true contents, V. iv. 140. holla, III. ii. 256. honest, I. ii. 43; III. iii. 27. honesty, II. iv. 93. horn, III. iii. 67. horns, III. iii. 54, 57, 59; IV. I. 63. hose, II. iv. 7. housewife Fortune, I. ii. 35-36. human, V. ii. 77. humorous, I. ii. 286; II. iii. 8; IV i. 21. humour, III. ii, 439. huntress, III. ii. 4. hurtling, IV. iii. 134 hyen, IV. i. 165. Hymen, V. iv. 118. "I came," etc., V. ii. 36. I to live, III. ii. 157. I were merrier, I. ii. 4. 204 WORD INDEX. I would not change it, II. i. 'ild, III. iii. 79; V. iv. 56. ill-favoured, V. iv. 60. ill-favouredly , I. ii. 44. impressure, III. v. 23. in lieu of, II. iii. 65. in the mind, III. iii. 95. incision, III. ii. 78. incontinent, V. ii. 44. inconvenient, V. ii. 76. Ind, III. ii. 87. inland, III. ii. 360. inland bred, II. vii. 96. insinuate, Epilogue, 9. insomuch, V. ii. 63. instance, II. vii. 156; III. ii. 56. instrument, IV. iii. 69. intendment, I. i. 145. invectively, II. i. 58. invention, II. v. 47. ipse, V. i. 47. it, I. i. 154; I. iii. 123; III. v. 93 ii. 72. Jaques, II. i. 26. jewel, II. i. 14. Jove, III. iii. 11. Jove's tree, III. ii. 248. Juno's swans, I. iii. 76. Kind, IV. iii. 60. kindle, I. i. 189. kindled, III. ii. 355 kisses, III. iv. 9. Leander, IV. i. 106-113. learn, I. ii. 6. leer, IV i. 71. lieu, II. iii. 65. like, V. iv. 49. liked, Epilogue, 22. lined (filled), II. vii. 154. lined (drawn), III. ii. 91. little, III. ii. 143. lively touches, V. iv. 27. liver, III. ii. 444. lives and dies, III. v. 7. living, III. ii. 440. look you, II. v. 33. low content, II. iii. 68. Iiucretia, III. ii. 151. Make, I.i. 33; II. iii. 4; IV. i. 171. makes, III. v. 53. man haunts, III. ii. 375. manage, I. i. 14. marry, I. i. 87. material, III. iii. 33. matter, II. i. 68; V. iii. 35. may be said, III. iii. 22-23. measure, V. iv. 45. medlar, III. ii. 119. merely, III. ii. 419, 442. mettle, II. vii. 82. mines, I. i. 23. mingled damask, III. v. 123. misprised, I. i. 187; I. ii. 196. misused, IV. i. 211. modern, II. vii. 156; IV. i. 7. moe, III. ii. 275. moonish, III. ii. 429 moral, II. vii. 29. more sounder, III. ii. 65. more worthier, III. iii. 63. mortal in folly, II. iv. 57-58. motley, II. vii. 13. mountains, III. ii. 191. Names, II. v. 21. napkin, IV. iii. 96. natural, I. ii. 54. naught, I. i. 41; I. ii. 71; III. ii. 15. neighbour bottom, IV. iii. 81. neighbourly, III. v. 90. nice, IV. i.15. nine days, III. ii. 179. no, I. ii. 48. no more do yours, II. iii. 12. no . . . neither, I. i. 95-6. noble device, I. i. 183. nor . . . not, II. iii. 50 nor . . . no, III. v. 26. not . . . no, II. iv. 9. nor no . . . neither, I. ii. 30-31. not to, II. vii. 55. WORD INDEX. 205 note, II. v. 47. nurture, II. vii. 97. Observance, III. ii. 246; V. ii. 106. observation, II. vii. 41. occasion, IV. i. 181. odds in the man, I. ii. 172. 'Ods, III. V. 43; IV. iii. 18. of . . . of, II. vii. 90. of such a nature, III. i. 16. offcr'st fairly, V. iv. 177. omittance, III. v. 133. on, I. i. 4. one inch . . . discovery, III. ii. 202-204. only, I. ii. 209. out, IV. i. 80. out of all hooping, III. ii. 199. out of suits, I. ii. 266. out of you, III. v. 55. Fainted cloth, III. ii. 287-88. pale sphere, III. ii. 3. palm tree, III. ii. 181. pantaloon, II. vii. 158. parcels, III. v. 125. parlous, III. ii. 47. passing, III. v. 138. passion of earnest, IV. iii. 174. pathetical, IV. i. 202. patience, I. iii. 79. peascod, II. iv. 52. peevish, III. v. 110. penalty of Adam, II. i. 5. perceiving, I. ii. 57. perpend, III. ii. 72. persever, V. ii. 5. phoenix, IV. iii. 18. place, II. iii. 27. point-device, III. ii. 400-401. poke, II. vii. 20. pompous, V. iv. 192. poor a, I. i. 2. poverty of grace, III. V. 100. practise, I. i. 163. practices, II. iii. 26. presentation, V. iv. 116. presently, II. vi. 11; Ill.ii. 147. presents, I. ii. 133-35. prevents, IV. i. 65. priser, II. iii. 8. prodigal, I. i. 43. proper, I. ii. 132. properer, III. v. 51. purchase, III. ii. 357. purgation, I. iii. 54; V. iv. 45. puisny, III. iv. 45. pulpiter, III. ii. 158. Pythagoras, III. ii. 182. Quail,'II. ii. 20. quarrel in print, V. iv. 97. question, Ill.iv. 36; V. iv. 171. quintain, I. ii. 271. quintessence, III. ii. 142. quit, III. i. 11. quotidian, III. ii , 382. Rank, I. ii. 117. rank of osiers, IV. iii. S2. rankness, I. i. 95. rascal, III. iii. 61. raven, II. iii. 43. raw, III. ii. 79. recountments, IV. iii. 143. recovered, IV. iii. 153. religion, IV. i. 207. religious, III. ii. 359; V. iv. 170. remembered, II. vii. 189; III. v. 131. remorse, I. iii. 71. render, IV. iii. 125. resolve, III. ii. 243. respect of, III. ii. 13. reverence, I. i. 57. right, II. vii. 84; III. ii. 97. right painted cloth, III. ii. 287-88. righteously tempered, I. ii. 14-15. ripe, IV. iii. 90. roundly, V. iii. 11. roynish, II. ii. 8. Safest haste, I. iii. 42. sale-work, III. v. 43. sans, II. vii. 32, 166. savage, II. vi. 7. saw. III. v. 81. 206 WORD INDEX. saws, II. vii. 156. school, I. i. 6. scrip, III. ii. 166. searching of, II. iv. 44. seasons' difference, II. i. 6. seeks, V. i. 66. seeming, V. iv. 72. sentence end, III. ii. 139. sententious, V. iv. 65. sequestered, II. i. 33. service, II. iii. 61. seven ages, II. vii. 143. shadow, IV. i. 230. she, III. ii. 10. shear, II. iv. 81. show, I. iii. 82. shrewd, V. iv. 183. simples, IV. i. 17. simply, III. ii. 394. Sir, III. iii. 44. sleep, IV. iii. 5. smother, I. ii. 307. so, 1.11.11. sorts, I. i. 183. South Sea, III. ii. 202-204. sparrow, II. iii. 44. sad brow, III. ii. 223. speed, I. ii. 229. spheres, II. vii. 6. spleen, IV. i. 225. spoke, I. i. 92. sport, I. ii. 111. squandering glances, II. vii. 57. stagger, III. iii. 51. stalking-horse, V. iv. 115. stand with, II. iv. 93. stanzo, II. v. 19. states, V. iv. 185. stay, III. ii. 216. sticks, I. ii. 262. still, I. ii. 246; I. iii. 74; III.ii.57: V. iv. 118. straight, III. v. 136. strange oaths, II. vii. 150. successfully, I. ii. 166. sudden, II. vii. 151. suddenly, I. ii. 303; II. ii. 19. sufferance, II. ii. 3. suit, II. vii. 44. suits, I. ii. 266. surgery, III. ii. 67. swam in a gondola, IV. i. 40. sweat, II. iii. 58. sweet my coz, I. ii. 1. synod, III. ii. 153. Ta'en up, V. iv. 50. take up, V. iv. 107. taller, I. ii. 292. tax, II. vii. 71. taxation, I. ii. 94. taxed, III. ii. 365. taxing, II. vii. 86. tender, V. ii. 80. than I, I. ii. 287. thatched house, III. iii. 11. the only, V. iii. 13. the rest, etc. , IV. ii. 13. thee, III. i. 11. thou, I. i. 61 ; II. vii. 198. thou and I am, I. iii. 98. thou present, III. i. 4. thou wert best, I. i. ]60. thought, IV. i. 224. thrasonical, V. ii. 35. thrice-crowned, III. ii. 2. thrifty hire, II. iii. 39. to, IV. iii. 128. touched, III. ii. 364. touches, III. ii. 155; V. iv. 27. toward, V. iv. 35. traverse, III. iv. 44. Troilus, IV. i. 102. trots hard, III. ii. 328. trowel, I. ii. 116. turn, II. v. 3. turned into, IV. iii. 24. Udders, IV. iii. 117. uncouth, II. vi. 6. underhand, I. i. 152. undone, V. iv. 48. unexpressive, III. ii. 10. unkind, II. vii. 175. unquestionable, III. ii. 392. unregarded age, II. iii. 42. WORD INDEX. 207 unto, I. ii. 258. up, II. i. 62. upon command, II. vii. 125. Vein, II. vii. 94. vengeance, IV. iii. 49. venomous, II. i. 13. villains, I. i. 65. voice, II. iv. 89. Warp, II. vii. 187. waste, II. iv. 97. ways, I. ii. 228; II. iii. 66. weak evils, II. vii. 132. wear, II. vii. 34. wearer's, II. vii. 73. wearing, II. iv. 38. weary, II. iv. 1. weeping tears, II. iv. 54. well said, II. vi. 15. were better, III. iii. 95-96. what, I. i. 130; II. iv.90. wheel, I. ii. 36. where you are, V. ii. 33. wherein, I. Ii. 200; III. ii. 230. wherein ... in, II. vii. 139. which, II. i. 8. which Charles, I. ii. 137. whiles, II. vii. 128. who, III. ii. 323, 324, 325; III. 51; IV. iii. 112. wide-enlarged, III. ii. 146. will out, IV. i. 172. winter, III. ii. 105. wit . . . silenced, I. ii. 98. wit, whither, wilt, IV, i. 177. withal, I. i. 144; I.ii.29. without, III. ii. 174. woman of the world, V. iii. 5. world, I. ii. 304. wrath, V. ii. 45. You, III. ii. 95. you of the like, V. iv. 56. you were better, IV. i. 77. young in this, I. i. 59-60. your, III. ii. 59; V. iv. 64. iv. LoJl'29 Deacidified using the Bookkeeper process. Neutralizing agent: Magnesium Oxide Treatment Date: Feb. 2009 PreservationTechnologies A WORLD LEADER IN COLLECTIONS PRESERVATION 111 Thomson Park Drive Cranberry Township, PA 16066