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6
MICROCOPY RESOLUTION TEST CHART
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A /APPLIED IIVMGE
1653 tost Miin Street
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THE WARWICK SHAKESPEARE
AS YOU LIKE IT
EDITED BY
J. C. SMITH, M.A.(Edin.), B.A.(Oxon.)
SOMETIMB KXHIBITIONBB OF TRINITY COLLBCK. OXPOIO
TORONTO
GEORGE N. MORANG & CO, LIMITED
'cj'fe'feV
PUIN'TKD AT
THE VILLAFIIXD PRESS
GLASiiOW
GENERAL PREFACE.
In the Warwick Shakespeare an attempt is made to
present the greater plays of the dramatist in their literary
aspect, and not merely as material for the study of philology
01 grammar. Criticism purely verbal and textual has only
been included to such an extent as may serve to help the
student in his appreciation of the essential poetry. Questions
g of date and literary history have been fully dealt with in the
Introductions, but the larger space has been devoted to the
interpretative rather than the matter-of-fact order of scholar-
ship. Aesthetic judgments are never final, but the Editors
have attempted to suggest points of view from which the
analysis of dramatic motive and dramatic character may be
profitably undertaken. In the Notes likewise, while it is
hoped that all unfamiliar expressions and allusions have been
adequately explained, yet it has been thought even more
important to consider the dramatic value of each scene, and
the part which it plays in relation to the whole. These
general principles are common to the whole series; in detail
each Editor is alone responsible for the plays intrusted to
him.
Every volume of the series has been provided with a
Glossary, an Essay upon Metre, and an Index; and Appen-
dices have been added upon points of special interest, which
could not conveniently be treated in the Introduction or the
Notes. The text is based by the several Editors on that of
the Globe edition: the only omissions made are those that are
unavoidable in an edition likely to be used by young students.
By the systematic arrangement of the introductory matter,
and by close attention to typographical details, every effort
has been made to provide an edition that will prove con-
venient in use.
Published i8g4; reprinted i8g8: iSqq; iqoo; 190a.
CONTENTS.
General Preface, . . . ^"
Introduction,
' • ■ 7
Dramatis PERsoNiC, „
As You Like It, -^
Notes, ^^
Appendix A.— Had Shakespeare read the Coke's
T*^*^' .60
Appendix R— On some supposed Inconsistencies
'N Act I., ,^,
Note on Shakespeare's Prosody, - . ,63
Glossary
■ - - 171
Index of Words ,_
General Index - • - ■ 181
6
/
INTRODUCTION.
'i
I. HISTORY OF THE PLAY.
§1. As You Like It was first printed in the collected
iCdition of Shakespeare's plays known as the
j First Folio, 1623. No Quarto exists, or in all *'"*^
[likelihood ever existed, for the play is mentioned by the
printers of the First Folio among those which " are not for-
merly entred to other men". Various points in the text,
especially the form of the stage-directions, make it probable
that the play was originally printed from an acting copy.
§ 2. Though it was probably put on the boards as early as
1600, no actual performance is recorded during
Shakespeare's lifetime, or for long after his **** "'•'*^'
death. But Oldys has preserved a tradition that Shake-
speare himself acted in the play, in the p&rt of Adam. A
younger brothf*r of Shakespeare's, according to Oldys, was
I alive after the Restoration. In his youth he had often gone
^ up to London to see Shakespeare act, and in his old age was
I naturally much questioned for reminiscences of his brother,
" especially in his dramatic character. But all that could be
recollected from him of his brother Will in that station "
^(ji.e. as an actor) "was the faint, general, and almost lost
< ideas he hud of having once seen him act a part in one of
his own comedies, wherein, being to personate a decrepit old
man, he wore a long beard, and appeared so weak and
drooping and unable to walk, that he was forced to be sup-
ported and carrif d by another person to a table, at which he
was seated among some company, who were eating, and one
of them sung a song." This description applies accurately
to the entrance of Orlando with Adam at the end of the
second act.
7
tl
is !
adapution,
1713
8 AS YOU LIKE IT.
After the Restoration several of Shakespeare's plays were
revived, in somewhat mangled forms; but As You Like It
was not among them. Our usual authorities, at least, say
nothing of any such revival; and, as will be seen, there is
positive evidence to the contrary. It was not till 1723 that
Oias. Johnson's Charles Johnson produced an adaptation of it
at Drury Lane, with the title of Love in a Forest.
In his Prologue Johnson says:
' In Honour to his Name and this learnd Age,
Once more your much-lov'd Shakespeare treads the Stage ";
and declares that his whole ambition is
" The Scene from Time and Error to restore,
And give the Stage from Shakespeare one play more ".
EvidenUy, then, Johnson's was the first revival, at least in that
generation. To suit the taste of that leam'd Age, Johnson
cuts out the purely comic and pastoral characters, introduces
the burlesque of Pyramus and Thisbe from A Midsummer
Nighfs Dream, makes Oliver kill himself, and marries Celia
to Jaques, who, to fit him for playing the cynic in love, is
furnished with Benedick's speeches from Much Ado. This
atrocious medley had a run of a week.
More thorough-going, and even more atrocious, is The
Modem Receipt, or a Cure for Love, published by one J. C.
in 1739. 'J- C.' follows Johnson in his omissions: his addi-
tions are all his own. He too marries Celia to Jaques, and
their love-making bulks more largely in the play than does
the wooing of Orlando and Rosalind,
In 1740 As You Like It was restored to the boards, with
English Quin as Jaques and Mrs. Pritchard as Rosalind,
Performances, and ran for twenty-five nights. Since then its
popularity has rarely flagged. Eighteenth-century critics
mention the Jaques of Quin and Sheridan, the Touchstone of
Macklin and King, and the Rosalind of Mrs. Barry, Mrs.
Pritchard, and Peg Woffington. But the great Rosalind of
the century was Mrs. Jordan, who first took the part in 1789.
She made Rosalind a mere tomboy— "a tousell'd hoyden"
INTRODUCTION.
is Mr. Verity's phrase — ^but her smile was irresistible. Mrs.
Siddons (1785) was the first to bring out the dignity and
womanliness of Rosalind, a side of her character to which
later actresses have not failed to do justice. In the present
century we have the revival by Macready, and the Jaques of
Kemble and Hermann Vezin, and the Rosalind of Helen
Faucit (Lady Martin) and Miss Rehan of to-day. Lady
Martin was perhaps the most famous Rosalind of the Eng-
lish stage. She has written about Rosalind as well as acted
her ; and readers can still enjoy her tender an^l vivid con-
ception of the part in the most delightful of her essays.*
The play has long been a favourite in Germany. Vincke*
mentions as many as seven adaptations between q^^^, ^^j
1848 and 1870. All these adaptations take the French Adap-
form of compression, a compression chiefly ejcer- '*"°"*-
cised upon the forest scenes; and exhibit a feeling, as Vincke
puts it, that the superstructure is too airy for the massive
pedestal. There may be some force in this from a theatre-
goer's point of view; but to a reader, at any rate to an Eng-
lish reader, it seems to betray a certain obtuseness as to the
real themcand interest of the play. Perhaps the wit suffers
in translation.
In France there is George Sand's famous adaptation (1856).
In her Comme II Vous Plaira, Jaques is the real hero, and
ultimately marries Celia, while Audrey at the last moment
throws over Touchstone for William. Here, too, the forest
scenes are curtailed. Indeed the whole tone of the play is
altered, and the centre of interest quite displaced.
11. DATE OF COMPOSITION.
§ 3. External evidence consists of references to the play in
record which we can date, and gives a limit /,) External
before which it must have been written. Evidence.
(1) As You Like It is entered in the Stationers' Registers,
* Some of ShakesPeart' i Female Characters.
» "Wie et eut-h geffillt " aufder BSkne : Jahrbuch, vol. 13, p. 186.
lo
AS YOU LIKE IT.
under date August 4th, i6oo,» as a book "to be stayed" lit
not pnnted). ' ^
(2) In Thomas Morle/s First Booke of Ayres, printed ai
London in 1600, one of the songs of this play ("It was a lovei
and his lass", act v. sc. 3) is set to music. Morley does not
claim the words of his songs; he must have borrowed thi«
from Shakespeare, unless, indeed, they both took it from some
older source. But this particular song corresponds, both in
Its position and in its sentiments, to Corydon's song in
Lodges novel-" A blithe and bonny country lass". This
seems to settle the question of authorship, and with it the
upper limit of the date.
(3) Negatively, too, external evidence gives a lower limit
As You Like It is not included in the list of Shakespeare's
plays m Meres's Treasury of Wit {xi^^). Hence, on external
evidence alone, the date of composition is fixed to the years
1 598-1600; and, as Henry V. and Much Ado were probably
both written during these years, and before As You Like It
we are practically confined to 1600. '
§4. References in the play to events which we can date
if Ajiuiton** ^'^^ * ^™'* ^^^^"^ ^^'^'^ " """^^ ^*ve been
written. The allusions in As You Like It
generally go to confirm the results of the external evidence
rji'^--^^ ""^ "^^° ^^^"^ ^°^«d that loved not at first
sight, (ill. 5. 81) IS a quotation from Marlowe's Hero and
Leander, which was published in 1598. (2) The expression
like one another as halfpence are" (iii. 2. 323) refers to the
halfpence of Elizabeth, in use till i6oi. (3) The simile "like
Diana in the fountain" (iv. i. 134) may have been suggested
by a statue of that goddess set up in West Cheap in 1506
and in ruins by 1603. ^
But there remain two troublesome references. (4) When
Rosalind (IV. I. ,65) swears "by all pretty oaths that are not
dangerous", she has been thought to refer to a statute of
160S to restrain the abuses of Players. (5) Again, in v. 2. 55,
1 The year is not actually given, but is safely inferred from the preceding entrv
and from the act that MucA AHo and H^ry V., which are ' su;ed " Zg S
A, y OH Like It, were published in August, 1600. *
Ji
INTRODUCTION.
II
says, " I have conversed with a magician, most profound
liis art, and yet not damnable"; a few lines lower she
Eats the caution: "By my life I do; which I tender dearly,
iigh I am a magician ". It is natural to see in this repe-
|»n a reference to the statute of 1603, which attached the
erest penalties to witchcraft. If these references are not
kginary, they cannot have stood in the play of 1600. They
St have been added at some later performance by way of
bpical allusions". But even this supposition is not neces-
The first of these passages may refer to some earlier
Mbition— perhaps alluded to in i. 2. ^^ (see note ad he);
the statute against witchcraft only re-enacted with in-
oslased severity an older statute of 5 Elizabeth.
lAs to why As You Like It was 'stayed' in 1600, no cen-
treing explanation has yet been given. On the strength of
*(|ious inconsistencies in the first act and the hasty wind-up
liithe last, Mr. Wright suggests that the play was unfinished.
fifit even if these facts are admitted,^ they prove not merely
^t it vas unfinished by August 4th, 1600 (in which case we
d^uld have expected a Quarto to appear in a month or two),
tlit that it never received Shakespeare's last touches at all.
lioreover, the citation from Morley shows that the fifth act
lK|s written in that year.
It is more probable that a piratical attempt had been made
: publish the play, and that Shakespeare or his company
sealed against it. As You Like It was then new to the
irds, and a printed edition might interfere with its stage
ccess. An extraordinary number of Shakespeare's plays
Is printed in 1600; from this time onwards he seems to
|ve become very chary of letting his manuscript into the
inters' — or pirates' — hands.
|§ 5. In the case of As You Like It, the metrical evidence
elds no definite conclusion as to date. This is , , i„,jn,ji
^e partly to want of facts — only two-fifths of the Evidence,
ly is in verse ; partly to the conflicting results
\ the various tests.' All that can be inferred from the metre
I For a fuller discussion see Appendix B.
* On these tests, see the note on Shakespeare's Prosody.
12
AS YOU LIKE IT.
is, that the play falls between Romeo and Juliet and Troilm
and Cressida. This latitude it shares with Twelfth Night, a
play with which it has much in common.
§6. As You Like It is entered in the Stationers' Registers
(*) Style and along with Henry V. and Much Ado; and this,
Composition, juxtaposition admirably exhibits its place in the i
development of Shakespeare's art. With Henry V. he finished
his great series of English Histories: with Hamlet he plunged
into the world of tragedy. In the "sunshine holiday" be-
tween, he wrote those three bright ^\aiy%—Much Ado, As You
Like It, and Twelfth Night. They form a group apart; with 1
little of the verbal cleverness of his first style, and none of |
the after-glow which lights up the Winter's Tale, yet full of
unspoiled mirth and innocent affection. Only here and there
—in the melancholy of Jaques and the almost too tragic plot *^
of Much Ado— Hamlet and Othello are foreshadowed. An ,
excess of symmetry is a trait which As You Like It shares |
with an earlier group; but this is due to Lodge rather than to
Shakespeare.
III. THE SeURCE OF THE INCIDENTS.^
§. 7. The earliest form of the story is found in the Cok^s
Tale oj Gamelyn, sometimes (though wrongly) printed among
Chaucer's Canterbury Tales. Whether Shakespeare had
read it is more than doubtful.' In any case, the immediate
source of his plot was not the Tale, but Thomas Lodge's
novel of Rosalind, Euphue^ Golden Legacy. Lodge's storj-,
» In this, . ..e succeeding division of the Introduction, I have dwelt rather
on the constructive than on the imaginative side of Shakespeare's comic art. If
such a method be thought to need justification in a school-book, I might quote
Mr. Pater's words: "The philosophic critic, at least, will value, even in works
of imagination, seemingly the most intuitive, the power of the understanding in
them, their logical process of construction, the spectacle of a supreme intellectu.iJ
dexterity which they afford ".
' See Appendix A. In that Appendix and this part of the Introduction 1
owe much to Mr. Stone's article (New Shakspere Society's Transactions, i88»-6,
p. 877), and more to Deliut (Jahrbuch, vol. vi. p. aa6).
INTRODUCTION.
«3
Irst published in 1590, is based to some extent on the
rale. From it he took the characters of the old The TaU of
light, his three sons, and the faithful servant l^%^-
^dam ; with the incidents of the quarrel in the '«'»^
Orchard, the wrestling, and the hero's return and flight. On
^his simple foundation he erected a pastoral romance. He
added the two Dukes (they are Kings in the novel), and their
daughters; all the pastoral characters; and all the interest
of love and intrigue in Arden — all the main incidents of the
play, in short, and all the main characters except Jaques,
Touchstone, and Audrey. Moreover, he redacted the rough
ballad-style of the Tale into a new and artificial manner.
The novel, as its sub -title shows, was written in the fashion
^et by Lyly's Ettphues (1579), and thence called Euphuism.
It is a style abounding in lengthy homilies, remote fancies,
Similes from natural history, alliterations and antitheses
vhich sometimes fall to the level of very poor puns : a style
described by Drayton as
"Talking of stones, stars, plants, of fishes, flies,
Playing with words and idle similes " :
id best known from Shakespeare's famous caricature of it
In Lovis Labour's Lost, and Scott's in the Monastery.
§ 8. Ulien Shakespeare dramatized the work of a country-
lan and a contemporary, he seems to have SMaiinJuid
Imposed certain restrictions on himself which ^* you Like it.
\t did not observe when he drew his material from foreign
kources. In the latter case he allowed himself great liberties,
jiltering, omitting, and even (as in the Merchant of Venice)
combining distinct stories as suited his purpose. But in the
base of As Yott Like It and The Winter's Tale, which is
|imilarly drawn from Greene's Pandosto, he was dealing with
. story familiar to many of his audience in its printed form.'
Accordingly he was content to leave the main features of
iie story unchanged, to omit only such incidents as resisted
|ramatizing, and to add only such characters and situations
did not interfere with the known flow of the narrative.
' Ixxlge's novel was then in its third edition.
14
AS YOU LIKE IT.
But under cover of this superficial resemblance he practised
a hundred subtle changes. The facts are retained, but their
connection is altered, and with their connection their signifi-
cance. The external features of the characters remain, but
their acts are attributed to new motives and take on a new
meaning. And over all he throws the splendour of style.
The flat and conventional figures of the novel develop into
full and human characters, and, though isolated phrases are
retained, its academic dialogue is in the main replaced by
the most brilliant natural speech.
§ 9. Only the more obvious changes' can be noticed here,
and these may be classed under three heads: (i) Changes
of Time and Place; (2) Omissions and Additions; (3) Changes
affecting Character.
In the novel Rosader and Adam set out for the forest of
Changes : Arden : in the play they have no special destina-
(lajPlace. ^jgn in view. Otherwise there is no change,
except that Lodge is naturally more precise and prosaic in
his topography.
The play compresses into a few days — Daniel counts ten
days with intervals — what in the novel is spread
over a much longer period.
(a) In Lodge there is a long interval between the quarrel
(i. I ) and the wrestling (i. 2) : Shakespeare puts them on
successive days.
(6) After the wrestling Rosader stays a while at home, and
that too though he knows of Rosalind's banishment. Orlando
would not be such a laggard in love. He returns at once,
learns Oliver's plot, and leaves the place immediately, in
igno.apre of Rosalind's fate.
(c) In spite of this, Shakespeare has followed Lodge in
putting Oliver's banishment after the arrival of the fugitives
in Arden. But this order of events is a concession to
dramatic effect (iii. i).
> Minuter changes are referred to in the notes. The differences of names irt
these :— Rosader = Orlando ; Saladin = Oliver ; Torismond = Duke Frederick
Gerismond=Duke Senior; Alinda = Celia; Corydon=Corin; Montanus = Silvius.
Rosalind, Phebe, and Adam are retained, as well as the assumed names Ganr
mede and Aliew-
(i^) Time.
INTRODUCTION.
»s
{(f) For the same reason, he has introduced the pastoral
sub-plot before the arrival of Oliver in the forest, and inverted
the order of the messages brought to the ladies by him and
by Silvius (iii. 5 and iv. 3).
There is one point, however, in his treatment of time,
which needs a fuller notice. The most perfect p^^^j^ ^j^^
arrangement from the spectator's point of view,
and the one which will most easily sustain the dramatic
illusion, is that the time supposed to elapse (the ideal time)
shall be no more than the time which the play takes to act
(the real time). A typical Greek tragedy, like the Oedipus
Tyrannus, comes near to fulfilling this condition. But such
a congeries of dramatic moments is rare, and is unsuited for
that development, as opposed to the mere presentment, of
character which is the peculiar feature of Shakespearian
tragedy. Shakespeare ' cuts the knot ' by using two different
time-systems at once. By one series of time-notes the action
is hurried on, as if it were compressed into a few days ;
by another it is protracted over weeks or months. This
phenomenon is not very noticeable in As You Like It. But
it is there. Compare now these three passages :
(I) OH. 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 banished, &c.
OH. WTiere will the old duke live?
Cha. They say he is already in the forest of Arden
(i. I. 85-100).
(2) Duke F. Ay, Celia, we stay'd her for your sake,
Else had she with her father ranged along.
Cel. I did not then entreat to have her stay ;
It was your pleasure and your own remorse :
I was too young that timt to value her (i. 3. 60 64).
(3) Duke S. Hath not <»A/ fMJ/(?w made this life more sweet
Than that of painted pomp? ....
Here feel we but the penalty of Adam,
The seasons^ difference, &c. (ii. I. 2-7).
l6
AS YOU LIKE TT.
In the first of these passages the impression conveyed, and
meant to be conveyed, is that the usurpation is quite recent
This impression is created to account for the unsettled state
of Duice Frederick's feelings, and the causeless fit of passion
in which he banishes Rosalind. But once this is accom-
plished, Shakespeare allows the usurpation to slip back into
the past, in order that, when the action shifts to Arden, the
exiles may figure as habitues of the forest, fit to support the
contrast between the country and the court.
{a) The novel opens at the old knight's death-bed. Shake-
Omissions and speare gives all that is necessary to understand
^(a1'"ncWent$ ^^^ story in Orlando's opening speech.
Omitted. (J,) He also omits as not essential a tourney
which precedes the wrestling.
{c) After the wrestling, Rosader returns home with a
rabble of young men, breaks into Saladin's house and feasts
his gay companions. After a time he is seized in his sleep
and put in irons, from which he is released by Adam, and
holds the house till the sheriff comes against him. This
episode is closely imitated from the Tale of Gamelyn. In
the play Orlando returns alone, and is simply warned by
Adam.
(//) Saladin is thrown into prison by Torismond — a detail
which Shakespeare omits to expe(' 'e the action.
{e) In the novel Aliena is carried off by a band of robbers,
from whom she is rescued by Rosader and Saladin. In this
exploit Rosader receives a wound: in the play Orlando is
wounded in rescuing his brother ; and the meeting of Oliver
and Celia, which is the object of this episode, is simply
effected by making Oliver the messenger. Robbers would
be out of place in the philosophic shades of Arden.
(/) At the end of the novel news comes that the twelve
peers of France have revolted against the usurper: Geris-
mond sets out to join them with Rosader and Saladin;
Torismond is defeated and slain. To end the play lightly,
without breaking up the harmony of the wedding scene,
Shakespeare has done poetic justice by the milder method
of converting Frederick.
(M7)
INTRODUCTION.
»7
Various incidents, for various dramatic reasons, are narrated
instead of being represented, e.g. the wrestling u^) i„cidenu
with the Franklin's sons, the rescue of Oliver, Narrated,
the wooing of Celia, and Frederick's conversion. [See notes.]
The purely reflective part of Jaques, and the purely comic
parts of Touchstone, Audrey, and William, are ,. ^^^
additions of Shakespeare's own. They are so Scenes and
contrived that, without breaking in on the main Characten.
action, they lend its humour breadth and depth, and help
beyond anything else to turn the pastoral into a comedy.
Several minor characters are also added or named for the
first time by Shakespeare, viz. Dennis, Le Beau, Amiens, the
First Lord, and Sir Oliver Martext. The short lyrical scenes
(ii. 5, iv. 2, v. 3) are also new, as indeed are all the songs.
Besides these new characters, and the situations in which
they figure, Shakespeare has added a number of scenes or
parts of scenes to which no counterpart will be found in the
novel : e.g. i. i up to Oliver's entrance, i. 2 to the beginning of
the wrestling, i. 3 to the entrance of the Duke, and the whole
of ii. I. These scenes are added to exhibit not merely the
external circumstances of the various characters, but their
feelings and motives at the time when they are merged in the
action.
It is naturally in the treatment of character that Shake-
speare has allowed himself most liberty. He has (,) change* of
absolutely transmuted the hero and the heroine, Character,
with what a gain of dignity and manliness to Orlando and of
womanliness and wit to Rosalind, only a detailed comparison,
such as is partly attempted in the notes, can show. But in
two cases his treatment is so characteristic, and has provoked
so much criticism, that the question must be summed up here.
The characters in question are Oliver and Duke Frederick.
At first sight there is little to choose between them and
the Saladin and Torismond of the novel. Yet Saiadin and
with a minimum of change Shakespeare has Torismond.
given a new interpretation of their conduct. Saladin's
enmity to Rosader is due to pure greed and envy. Rosader
has inherited the largest share of their father's estate, and
(M7) B
,8 AS YOU LIKE IT.
to deprive him of this Saladin plots his murder in cold blood,
bribes the wrestler to kill him, and sends him to meet his
fate on the plea that he must support the honour of the
house. Torismond is a companion figure, in drawing whom
Lodge seems to have had in his mind the con/entional
pictures of the Greek Tyrannus. He is first introduced
while holding a tournament, intended to divert the people's
thoughts from dwelling on their banished king. He banishes
Rosalind for fear that one of the peers may fall in love with
her and aspire to the throne. When his own daughter
intercedes, he banishes her as weli, "rather choosmg", says
Lodge " to hazard the loss of his only child than anyways to
put in' question the state of his kingdom". Finally, when
he hears of Rosader's flight, "desirous to possess such fair
revenues", he seizes on the pretext to confiscate Saladin's
property: "by thy means", he says, "have I lost a most
brave and resolute chevalier".
Oliver's hatred for Orlando has its root, not in greed— for
Orlando has no wealth to covet— but in a far
Duke7«d subtler cause, a blood diverted from the course
«"'='' of nature. The boy whom he has neglected as
an encumbrance— this boy he sees growing up in spite of
him to outshine him even in the eyes of his own dependants.
He cannot deny Orlando's graces even to himself, but he will
not own that he is in the wrong. His plot with Charles is
concocted in the heat of resentment, and, when this redounds
to Orlando's glory, his final treacherous attempt is the last
effort of a baffled will.
The Duke's actions, too, are based on temperament rather
than on circumstance. He is twice expressly styled the
•humorous' Duke. He is at the mercy of his own moody
passions. In a fit of temper, provoked by the sight of his old
enemy's son, he banishes Rosalind, alleging no special reason
because he has none to allege. When he finds that Celia too
has fled, he has a touch of repentance, succeeded by another
access of violence in which he banishes Oliver. His final
conversion is quite in keeping with his previous acts.
The meeting of the two 'tyrants', in which this part of the
INTRODUCTION.
19
plot culminates, is brought about by new means which con-
nect it directly with the main plot. Celia is not banished ;
she runs away: Orlando is suspected— here the time-change
noted above (i d) comes in— and Oliver is sent for. With a
fine poetic justice, the perverse wilfulness of Oliver is broken
by a tyranny still more masterful, and all his fortunes are
made to depend on his recovery of that brother whom he had
driven from house and home.
If it be felt after all that Oliver hardly deserves his final
good fortune, that there is little in his previous conduct to
prepare us for his conversion, we can only recur to the con-
ditions under which Shakespeare was working, and reply that
he has probably done his best with his nuiterials.
IV. CRITICAL APPRECIATION.
§ 10. So far we have followed the process of creation : it
remains to look at the product as an artistic whole. As such
it must be judged on its own merits, without regard to its
origin, and in its entirety. The separate characters are
nothing except as parts of the play, and have no value except
in their places there. No doubt there is an interest 0(f char-
acter as well as an interest of situation, but in drama, at
least, the two cannot be dissociated. Moreover, the various
characters and situations are not all on the same level of
interest, and a true judgment on the whole will only emerge
when they are seen in their right relations. Here criticism
must reverse the method of creation, and separate the different
strands which the poet has woven together.
§11. Every true plot, however short, is made up of two
movements, a movement of Complication and a The Dramatic
movement of Resolution. These two movements Climax,
may vary in relative length, but in a well-constructed play
they often fairly divide the action, and the point at which the
Complication ends and the Resolution begins may be called
the Dramatic Climax. In As You lake It this climax will be
found in the second scene of the third act, i.e. as nearly as
possible in the mathematical centre of the play.
AS YOU LIKE IT.
This is the famous Forest Scene, where Rosalind in the
guise of a youth meets Orlando, and proposes that he shall
woo her in masquerade. This scene is the key to the whole
action of the play: to this all tne previous movements lead
up, and from this all the subsequent movements flow. The
first hint of it is found in Lodge, in the Wooing Eclogue
sung by Ganymede and Rosader. But it remained for
Shakespeare to see the dramatic possibilities of the situa-
tion. The Wooing Eclogue is jejune compared to the inter-
play of jest and earnest, of wit and tenderness which forms
the texture of the Forest Scene; and even in form it is too
mere a frolic to foster that real ripening of aflfection which
Shakespeare makes us see beneath the frolic.
§12. It is from this point that we can most profitably
The Main analyse the structure of the play. Here is the
Theme. simple and essential plot. Two undeclared
lovers meet: the lady in disguise challenges her lover to woo
her as his mistress: their courtship is thus carried on in mas-
querade till she is assured of his aJflfecaon, when she discloses
herself, and all ends happily. This issue is predetermined
almost from the first, so that our attention is directed less to
what will happen than to the way in which the theme will
work itself out. Hence the play is in form a C omedy of
Dialogue rather than a Comedy of Incident. But the real
interest lies neither in dialogue nor in incident. The inci-
dents are contrived to bring the lovers together; the dialogue
is not a mere run of repartee beginning and ending in a
laugh, but is devoted to the expression of the main theme.
And that theme is love. As You Like It is the comedy of
happy love,"as Romeo and Juliet is the tragedy of star-crossed
love.
The hero, indeed, is little more than the ideal lover— the
successful lover, that is, for he is not burdened
The Hero. ^^^ ^^^^ weight of passion which in itself fore-
dooms Romeo. Shakespeare has bestowed on Orlando all
- the solid graces of his part He is young, manly, gentle,
and unfortunate; and perhaps his misfortunes tell as much
in his favour as his manliness, or gentleness or youth. Whea
INTRODUCTION. «
his luck turns we begin to feel his deficiencies. In the forest
scenes he is little but a passive interlocutoi, and the burden
of the dialogue falls on Rosalind Shakespeare has given
him 'he victory over Jaques, but his wit is rather of the tu
quoque order: " Farewell, good Signior Love"; "Adieu, good
Monsieur Melancholy": a schoolboy style of retort. If the
lover in luck fails to hold our interest, it is perhaps the penalty
inseparable from his age and his part, a part in which Scott
has owned to frequent failure, and even Shakespeare has not
always succeeded.
But his partial failure with the hero only brings out the
more fully his consuiranate success with the
heroine. She is a good example of the truth f"* ^^^\
that character and situation cannot be dissociated. Rosalind
is created for the situat'on, and the situation for Rosalind.
" She is wit and woman... «s ", as Mr. Verity says, " in equal
proportions"; and it is p. -cisely this combination that makes
her Rosalind. Beatrice is as witty, and Imogen more womanly,
but nowhere else in the range of Shakespeare's women are
the two qualities so brought together that love stimulates
wit, and wit lends itself to love. Her full character and
powers are not disclosed at nnrf • in t^«. fartifr scenes, her
repartees are nnf ivrrt'ptihiy ohnv*. th^ IfyH nf Cflia nr Thr
Clown; it is not till she is safe in the forest, and learns t^t
O rlando is n ear and loves hec^that fancy catches Jfire^frogi
fe eling, and rises in brilliant rorusca ti on. This is the peculiar
quality of her wit. It is neither boisterous ggr jjersoni^'
She does not * speak poniards ', like Beatrice, but deals in
bright generalities 'that give delight and hurt not'. When
she wishes to wound it is not irony that she Uacs. Her gaiety ..
is the flower of youth and of a brave and high spirit, a part ^
of her inheritance of noble birth which sustains her in adver-
sity and is never forgotten in her masquerade. Shakespeare
has disdained for her sake the obvious farcical opportunities
which the situation offers, and some of which he has worked
out in Twelfth Night. But the charm of Viola is of a depen-
dent kind, to which a little ridicule is not fatal. It may be
thought that she keeps Orlando too long in suspense; but it
as
AS YOU LIKE IT.
Accessories.
I;
must be remembered that till their second meeting there has
been no word of love between them, that she has to assure
herself of his feelings and her own, and that the wooing is
a real wooing to her— and, in short, the situation has charms
of its own which no witty woman could forego.
§13. To this simple theme everything else is accessory.
Some of the accessories are needed to explain
how the lovers first come to fall in love, and
how they meet again in new scenes and amid new circum-
stances; others describe these scenes and circumstances, the
natural and social milieu of the action ; others again serve to
strengthen the main plot by way of comparison or to brirg
into rejief by force of contrast According as they fulfil one
or other of these functions, they may be distinguished as
{a) Preliminaries, {b) Background Scenes, and {c) Sub-plots.
Some of the preliminaries fall outside the actual play, being
(<») Prelimi- presupposed in the conditions in which the action
nanes. opens. In treating these presuppositions, story-
tellers have always allowed themselves more freedom than in
the actual conduct of the tale. The Greek tragedians were
notoriously careless of probability in rb. t^u roD Spdfiaros, things
outside the action; and, to take a modem instance, it would
need another 'Egoist' to explain how Clara Middleton be-
comes engaged to Sir Willoughby. In our play it may be
observed that Shakespeare gives no reason for the peculiar
terms of Sir Rowland's will, on which so much depends; nor
does he anywhere explain for which of his virtues the people
allowed their amiable Duke to be banished by his 'humorous'
brother. These things are t^u rod Spd/MTos.
The preliminary scenes within the play are those parts of
it which lead up to the wrestling at which the lovers meet,
explain the ground of their sudden attachment, and give the
cause of their banishment and flight. Oliver and Duke
Frederick are essentially preliminary characters, though
Oliver reappears in one of the sub-plots. The fate of each
is itself a play in miniature, with its proper complication and
resolution. In both there is the same motive of fraternal
enmity (Shakespeare loves thus to heighten an effect by re-
INTRODUCTION.
23
duplication), and the two denouements are not dissimilar.
Adam also belongs to the preliminaries, and drops out of the
action at the end of Act 1 1.
§ 14. To the background belong all those scenes and char-
acters which contribute nothing to the action of <*) Background
I the play. These scenes are descriptive rather Scenes,
than properly dramatic, and the import of the characters lies
less in what they do than in what they say. They give the
I natural and social surroundings in which the main action
moves, and impart to it the breadth and atmosphere of life.
The natural surroundings are suggested in a series of brief
touches which yet leave a complete picture in the mind; and
their spirit has passed into the quiet wisdom of the Elder
Duke, and finds tuneful expression in the songs of Amiens
and the Foresters. These songs are a notable feature of the
play. The forest would be dead without thentL They are
all ' old and plain ' ; no luscious madrigals or quaint eclogues
such as Lodge delights in, but songs of the greenwood and
the holly, of the chase and country love. The themes are
all the better for being old-fashioned; they awake echoes of
Robin Hood, and their music and associations help not a
little to convey that open-air feeling which pervades the play,
and which mere description cannot always impart. Here the
sylvan predominates over the pastoral: we are in Sherwood,
^__not Arcadia.
The banished Duke belongs essentially to the background.
Positive function he has none, except to give The Elder
away the bride. But his tone and temper make ^"''«
him an excellent mouthpiece of the moral advantages of
banishment. His cheerful reflections bring out the optimist
side of that contrast between the country and the court, the
natural and the artificial, which is implied throughout the
play, and which gives point to the invectives of Jaques and
to the humour of Touchstone. The character and circum-
stances of this exiled moralist inevitably suggest a comparison
with Prospero which he is ill fitted to sustain. The adversity
which he has tasted is merely material; the iron of ingrati-
tude has not entered into his soul. It is remarkable that he
AS YOU LIKE IT.
Jaques.
nowhere alludes to his brother's conduct or to the occasion
of his own banishment. And apart from this moral difference,
I he has not the high speculative outlook of Prospero. But
] this only proves that his reflections are in keeping with the
general tone of the play, which, delightful as it is, does not
touch any deep moral problem, but dwells lightly on the sur-
face of life.
Jaques is by far the most important of all the background
characters. He answers to that description fairly,
but he does absolutely nothing to forward the
I action of the play. " He is the only purely contemplative
j character in Shakespeare", says Hazlitt; "he thinks and
jdoes nothing." Bui though he does nothing to advance the
plot, his removal would entirely alter the composition of the
whole. He is a foil to half the other characters— to the Duke
in his melancholy, to the lovers in his philosophy, and to
Touchstone in his humour.
In a sense, it is true, the character of Jaques is a satire on
a contemporary affectation.^ He represents the travelled
Englishman, who has come back from the Continent with a
v/soured temper and an empty purse. But Shakespeare, when
he wrote As You Like It, had long outgrown the mere satirist
of Lovis Labour^ s Lost. He uses contemporary allusions
only to deck some general trait. In Jaques' case the trait is
certainly one which has clung to the national character, and
makes Kreyssig see in him the father of all those who over-
run Europe with guide-books. But there is more in it.
Jaques is a non-combatant in the battle of life. He has
tasted pleasure in his youth, he has spent his patrimony in
foreign travel, and now in his old age he has retired on his
experience. His sole occupation now is to watch the combat
he has quitted. Seen from the outside, life is to him a mere
dramatic spectacle. Perhaps his point of view is not the
\ best, for he finds more to cry than to laugh over. He sees
1 For a similar affectation compare King John, iv. i. 13;
"Yet I remember, when I was in France,
Young gentlemen would be as sad as night,
Only for wantonness."
INTRODUCTION.
life in its mean, ludicrous, and pathetic aspects ; and, indeed,
is so much in love with his rdle of spectator, that all the
actors must seem to him by comparison mean, ludicrous, or
pathetic. And thus he is set off against the Duke, the lovers,
'and the fool. Lying under the trees, weeping over the
wounded deer, and sucking melancholy from the songs of
Amiens, he brings out (in contrast to the Duke) a new varia-
tion on the theme of the country and the court. He has
followed the Duke's fortunes, and calls himself a fool for his
pains. For here, in the forest, where the Duke finds the
sweet and bracing influences of Nature, Jaques sees the
strugpr'e of life repeating itself in folly, selfishness, and
misci).
He is sufficiently interested in the lovers to want to con-
vert them to his way of thinking. But they have no time for
such vanities, and flout him somewhat rudely off the stage.
It is a holiday for him when he finds the fool. Touch -
stone's mock wisdom is a new and exquisite experien*
Jaques has found his vocation. He will don motley and
reform the world with words. He follows Touchstone about,
listening to him from behind the trees, and showing off his
paces to the Duke with the patronizing admiration of the
amateur for the professional.
At last, when the old Duke is restored, he goes to seek out
the penitent usurper in his cell, there to continue his study of
human nature. He is essentially a creature of idleness, and
with the return to active life his function ends. The whole
scope and purpose of this character is much in dispute, and
we must try to judge him solely by what he says, and what
the others say of and to him. In fine, it is a mistake to take
him more seriously than he takes himself.
The whole of these background scenes and characters are
done with an elaborateness that almost amounts to a fault.
It is a fault — and one into which Scott, for instance, has often
fallen— to make those persons first in interest who are only
second in the action; and though such an error may be
readily pardoned in a novel, it is not so easy to forgive in a
play, where the main action is after all the main thing. If
26
AS YOU LIKE IT.
As You Like It escapes this charge, it is due to the para-
mount personality and charm of Rosalind.
§ 1 5. The main action is further strengthened by no less
(c) Sub plots. *^^" \^K^ sub-plots, by the introduction of
(i) Oliver and which Shakespeare avails himself of the prin-
ciples of comparison and contrast. The loves
of Oliver and Celia run parallel to those of Orlando and
, Rosalind ; but enough has been said about Oliver in an
earlier section. As Celia's chief function is to set off
Rosalind, so her main charm lies just here, in her loyal and
admiring love for her cousin, taller, wittier, and more beauti-
ful than herself. It is an intimate and sisterly affection
above any other of the kind which Shakespeare has depicted,
and enhances her as much as it enhances Rosalind, ^ut
there is never any doubt as to the real heroine.^Celia's
humour — and she has plenty of fun, though not theSparkle
and range of Rosalind — only comes out when they are alone
together, and plays in affectionate banter about her cousin)^
And there is some truth in what she says, that the love slie
gives is more perfect than that which she receives ; but such
is the birthright of heroines.
Ganymede and Aliena only play at shepherds. It is in
(jI Silvius and t^e sub-plot of Silvius and Phebe, and in the
Phebe. small part of Corin, that Shakespeare has chiefly
utilized the pastoraljelement in his original The taste for
pastoralism had revived in Spain and Italy in the middle of
the 16th century, and gradually spread to England, where it
strongly affected the work of some of Shakespeare's prede-
cessors, such as Spenser, Sidney, and Lodge. In certain
eras of civilization — the Alexandrian, the Augustan, the
Elizabethan, and our own— these Arcadian fancies have been
a spell on quiet imaginations that find the times out of joint.
But the pastoral world, with its classical machinery and con-
ventional subjects, is too unreal for the purpose of Comedy,
and when it is made to support the main weight of the plot
it is prone to degenerate, as it did in Fletcher's hands, into
sentimentalism. Shakespeare seems instinctively to have
hit its proper place in Comedy. He uses it, much as he uses
i I
INTRODUCTION.
27
;the fairy-world in A Midsummer NighVs Dream^ as sub-
sidiary to the natural human interest of his main action.
'The characters here are sketched in a light and conventional
manner. Silvius is merely the love-sick swain, Phebe the
country belle. Corin belongs to a somewhat different world,
the world of the Shepherd's Calendar rather than that of the
Arcadia. He is a real shepherd, Shakespeare's compliment
to honest labour.
In his handling of these secondary personages, it is admir-
able to observe with what boldness Shakespeare has blended
different manners of art, and even different planes o f reality,
passing from sentiment to comedy, and from comedy to
farce. But he is careful to keep the extremes apart. An
encounter between Silvius and Touchstone would either
make the one ridiculous or the other offensive.
In an Elizabethan comedy there are regularly one or two
characters whose chief function — whatever else (3) Touchstone
they may incidentally do— is to raise a laugh . »nd Audrey.
The taste of the audience demanded it, and Shakespeare
acquiesced. The stuff of which these parts are made is at
bottom the same everywhere; the point for criticism to
observe is how Shakespeare makes a virtue of this necessity,
how he gives to each of his clowns or fools the touch that
individualizes them and tones them into harmony with the
play of which they form a part. In the earlier comedies
these parts are usually assigned to clownish servants, such
as Launce and Speed in the Two Gentlemen of Verona, or
Launcelot Gobbo in the Merchant of Venice. It was a happy
innovation to make the clown oi As You Like It a profes -
sional jeste r. In the earlier scenes his wit is perhapsjjy)
strictly professional ; some of his jokes have a very ancient
tang] But when this excrescence of an artificial society is
transplanted by his own good-nature to the forest, he blooms
into an incongruous epitome of all the contrasts of the play.
Wisdom is a matter of comparison, and t he fool is a philoso -
pher in the fields. His solemn moralizings on life and tim e
are an ad mirable bu rlesque of Taques, all the more exquisite
because Jaques does not see it. But it 'is naturally on the
s8
AS YOU LIKE IT.
two serious themes of the play that his wit is chiefly exercised.
On the subject of love he encounters Rosalind, with his
sympathetic reminiscences of courting-days and his gross
parody of Orlando's poem. But Rosalind's aliection is far
too robust and natural to take any harm from mockery
Peace, you dull fool !" she says, and Touchstone discreetly
retires, m good order, if not with the honours of war.
On the oft-quoted antithesis between the country and the
court, he sums up to Corin with a nicety that leaves not a
straw to choose between them. His marriage with Audrey
is his happiest effort, and his last word on both subjects.
For an ex-courtier to marry an arrant rustic is the feat of a
practical philosopher, and a fair retort on Rosalind. She has
made wit the vassal of love; Touchstone forces love itself
mto the service of wit.
§ i6. Like all the plays of Shakespeare's middle period,
Stvle: As You Like It possesses the charm of lucidity!
« ' «* It is free from the verbal extravagances which
he affected earlier; and the thought is nowhere really hard
Beyond this, we can only say that the verse is good of its
kind It IS not a kind that admits of more than a quiet
excellence. The lines are not surcharged with feeling, or
eloquence, or imagination. They are intrusted with the
sentiment, the reflection, and not a little of the action of the
piece. But the sentiment is not very passionate, nor the
reflection very profound, and the verse is correspondingly
deficient in the higher qualities of harmony. Oliver's narra-
tive to the ladies has vivid descriptive touches; the speeches
of Jaques and the Duke are famous specimens of declama-
tion. Sweeter are the lines given to Silvius; but perhaps
the finest versification in the play is Orlando's speech when
ne comes upon the banqueters—
" But whoe'er you are
That in this desert inaccessible,
Under the shade of melancholy boughs,
Lose and neglect the creeping hours of'time", &c.
In point of style, as in point of structure, the main charm
1
i
INTRODUCTION.
of the play must always lie in the brilliant prose scenes. The
peculiar excellences of Shakespeare's middle style — clear-
ness, brightness, and equivalence to the matter
—are even more essential in prose than in verse,
and in this group of tragedies and co.nedies, from the Mer-
chant of Venice to Hamlet^ his handling of prose is a stylistic
achievement not inferior to his management of metres. So
much has been done for prose since then, and so little for
blank verse, that it is hard to realize that it is an achieve-
ment at all except by comparison with earlier styles. The
prose of these plays may not possess — it does not need — the
massive and voluminous periods of later masters; but for
lucidity, point, and a certain easy speed it stands alone in
the literature of that age. Its structure is radically English
and not Latin, but though vernacular it is not vulgar. Its
only fault, if it be a fault, is an excessive fondness for the
iambic rhythm ; but that could hardly be avoided by a poet
whose ear was attuned to that rhythm, and is hardly noticed
by a reader for the same reason.
§ 17. As there is no separate Quarto, the First Folio forms
the sole basis of the text. Whatever may be the
general merits of the Second Folio (1632), it is
not an independent authority in the case of As You IJke It.
In the present edition the Globe text has been followed.
The few divergences are mostly of a conservative kind. But
wherever the reading adopted differs in any important parti-
cular from that of the First Folio, the difference has been
recorded, with the name of the original corrector.
Text.
f , ,*'-
DRAMATIS PERSON/E.
DuKB, living in banishment.
Frkderick, his brother, and usurper of his dominioM.
■ Amiens, )
• Jaques /'°'''** attending on the banished duke.
a c
wr«
).
I servants to Oliver.
Scbnk:
Le Beav, a courtier attendir^f upon Frederick.
*• Charlcs, wrestler to Frederick.
- Oliver,
^Jaques. '- sons of Sir Rowland de Boys.
- Orlando, )
' Adam,
" Dennis, .
Touchstone, a clown.
Sir Oliver Martext, a vicar.
Cor IN, ■»
SlLV.US,r'''P''"'^*-
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. &c.
Oliver's houtt: Duke Frtdtricks court; ,^ ih* Fortti c/Ardtn.
80
AS YOU LIKE IT.
ACT I.
Scene I. Orchard of Ou.vim'^ house.
Enter Orlando and Adam.
Orl. As I remember, Adam, it was upon this fashion be-
queathed me by will but poor a thousand crowns, and, as
thou sayest, charged my brother, on his blessing, to breed
me well: and there begins my sadness. My brother Jaques
he keeps at school, and report speaks goldenly of his profit :
for my part, he keeps me rustically at home, or, to speak
more properly, stays me here at home unkept ; for call you
that keeping for a 'gentleman of my birth, that differs not
from the stalling of an ox? His horses are bred better; for,
besides that they are fair with their feeding, they are taught
their manage, and to that end riders dearly hired : but I, his
brother, gam nothing under him but growth ; for the which
his animals on his dunghills are as much bound to him as I.
Besides this nothing that he so plentifully gives me, the
something that nature gave me his countenance seems to
take from me : he lets me feed with his hinds, bars me the
^lace 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 father, which I think is within me,
begins to mutmy against this servitude: I will no longer
endure it, though yet I know no wise remedy how to avoid it.
Adam. Yonder c»mes my master, your brother.
Orl. Go apart, Adam, and thou shalt h. .] 'T will be a good way-
and to-morrow the wrestling is. * "'
£«/^/- Charles.
CAa. Good morrow to your worship
newtu^r??^ ^'^°"'''"'' ^^^'■'''' "'''**'' '^« "«^ "^^^^ ^t the
th^ft I'^^M !i",° "^'^u^ **. *^« ^°"'^' sir. but the old news-
that IS, the old duke is banished by his younger brother The
new duke; and three or four loving lords have put themseltes
nto voluntary exile with him, whose lands and revenuerenrich
the new duke; therefore he gives them good leave to waSder
would have fo lowed her exile, or have diel to s ky beh nd
?h.nhfcn ''a^ the court, and no less beloved of her uncle
OA^l^ daughter; and never two ladies loved as AeTdo
Oh. Where will the old duke live? ^
CAa. They say he is already in the forest of Arden and a
rST':^:,'"".^'*^ ^™' ^'l there they Slefke 'the old
Robin Hood of England: they say many y.ung gentlemen
3rd1„1h'e'?oSln^wtfi^"' «^" ''^ timeVarelefsirasThry
Sger broZr^m ' f\''T%''' ""de^rstandTat yJu?
Sf LS mf'tn^"'^° ^^S" l,disposition to come in dis-
mj^ credT S he th.VZ * ^^"^ T^-^"'""'' ^'^' ^ ^^«tle for
ci,,ii •• ^- "® t"^t escapes me without some broken limh
shall acquit him well Your brother is but yZng and tender
c
34
AS YOU LIKE IT.
[Act I.
well as he shall run into, in that it is a thing of his own search
and altogether against my will. ' '7
Oli Charles, 1 thank thee for thy love to me, which thou
Shalt find I will most kindly requite. I had myself notice of
my brother's purpose herein and have by underhand means
laboured to dissuade him from it, but he is resolute. I 11 tell
thee, Charles : it is the stubbomest young fellow of France,
full of ambition, an envious emulator .-<" every man s good
parts, a secret and villainous contriver unst me his natural
brother: therefore use thy discretion; I iiad as lief thou didst
break his neck as his finger. And thou wert best look to t ;
for if thou dost him any slight disgrace or if he do not
mightily grace himself on thee, he will practise against thee
by poison, entrap thee by some treacherous device and
never leave thee till he hath ta'en thy life by some indirect
means or other; for, I assure thee, and almost with tears 1
speak it, there is not one so young and so villainous this day
living. I speak but brotherly of him; but should I anatomize
him to thee as he is, I must blush and \ eep and thou must
look pale and wonder. '35
Cha. I am heartily glad I came hither to you. If he come
to-morrow, I '11 give him his payment : if ever he go alone
again, I '11 never wrestle for prize more ; and so God keep
your worship! ^. . , », ,,
Oli. Farewell, good Charles. [E^'* Charles] Now will
I stir this gamester: I hope I shall see an end of mm ; for iny
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 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 '11 go about. 148
[Exit.
Scene II. Lawn before ike Dvke'S pa/ace.
Enter Celia and Rosalind.
Cel. I pray thee, Rosalind, sweet my coz, be merry.
Ros. Dear Celia, I show more mirth than I am mistress
of; and would you yet I were merrier? Unless you could
teach me to forget a banished father, you must not learn me
how to remember anv extraordinary oleasure. 5
Cel. Herein I see thou Invest me not with the full weight
that I lo.e thee. If my uncle, thy banished father, had
Scene a.]
AS YOU LIKE IT.
3$
banished thy uncle, the duke mv father «n tKn., k-j.* v
still with me, I coufd have tLJkt mylSv^to tak^^h'^^^
for mme : so wouldst thou, if the trut J of thy bve to ,ie were'
>^L*t w",ft '^^^'^ *!'"'"* '^ '° thee. ^ *"* *7?
in foir, • *'" '^"'■^** '^* '°"^'*'°" '^^ -"y ««'ate, to rejoiJi
lilr?f; i!?" '*"°T ""y father hath no child but I. nor none is
sweet Rose, my dear Rose, b? mer^ '"' "«'«f°". ">/
CV/. Marry I pnthee, do, to make sport withal- but lovi
AVj. What shall be our sport, then?
En/er Touchstone.
'.' i
36
AS YOU LIKE IT.
[Act I.
i
Touch. No, by mine honour, but I was bid to come for you.
Ros. Where learned you that oath, fool ?
Touch. Of a certain knight that swore by his honour they
were good pancakes and swore by his honour the mustard
was naught : now I '11 stand to it, the pancakes were naught
and the mustard was good, and yet was not the knight for-
sworn.
Cel. How prove you that, in the great heap of your know-
ledge?
Ros. Ay, marry, now unmuzzle your wisdom. 60
Touch. Stand you both forth now : stroke your chins, and
swear by your beards that I am a knave.
Cel. By our beards, if we had them, thou art.
Touch. By my knavery, if I had it, then I were; but if you
swear by that that is not, you are not forsworn : no more was
this knight, swearing by his honour, for he never had any;
or if he had, he had sworn it away before ever he saw those
pancakes or that mustard.
Cel. Prithee, who is't that thou meanest?
Touch. One that old Frederick, your father, loves. 70
Cel. My father's love is enough to honour him enough:
speak no more of him ; you '11 be whipped for taxation one of
these days.
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 show. Here comes Monsieur Le Beau.
Ros. With his mouth full of news.
Cel. Which he will put on us, as pigeons feed their young.
Ros. Then shall we be news-crammed. 8 1
Cel. AH the better ; we shall be the more marketable.
Enter Le Beau.
Bon jour, Monsieur Le Beau: what's the news?
Le Beau. Fair princess, you have lost much good sport.
Cel. Sport! of what colour ?
Le Beau. What colour, madam ! how shall I answer you ?
Ros. As wit and fortune will.
Touch. Or as the Destinies decree.
Cel. Well said : that was laid on with a trowel.
Touch. Nay, if I keep not my rank,- - go
Ros. Thou losest thy old smell.
Le Beau. You amaze me, ladies : I ^ aid have told you of
good wrestling, which you have lost th \ sigh* of.
FScene a.]
AS YOU LIKE IT.
^os. Yet tell us the manner of the
37
to
wrestling.
ladvrhiDs"-'", "7''" ?,f beginning; and if it please
ladyships, .^ v.av see the end; for the best is
formit"^ ^"" ^^"^ •^"" ''''■' ^h^y -^« -'"ing to per-
S^'/?^«"'t?' '^'-'""^"8' ^' -t is dead and buried.
jf^^au. Thtr.- .^omr^. an old man and his three sons-
^iT^T^^''^ '^'' beginning with an o 3 tale To i
anfpr^^n^ce'^''^^^ ''''''" >°""^ '"-' ^' -client gro^S
bylSse'^A'se'i^^^" ^'^'^ "^'=^«' '«« '^ J^no- unto all men
the^duSw^tlr -^wLl PH '^'" ^'^''^'^ """^h Charles,
^ *'^Why, ihis t;iat I speak o(.
seelt ""' '""• *'' ^ '<""i»S: let us now'^VajT^d
^/■«n>A -^"'-f ™^ FREDERICK, Lords, Orlando,
Charles, a«^ Attendants.
his^™5n?ri,is"foS„t '"'""'*'" "»"-— .ed.
^os. Is yonder the man.?
z£:t/^''5oJf *°° y°,""^l y^t he looks successfully, no
hit£'^fee"hTwS„t^^^^^^ '"' ^°"^'"' ^^^ ^°" "^P°
DuJtf^' ?X/'^^f\'? P'f-^? >'°" ^^'^ "s leave.
i.;T
38
AS YOU LIKE IT.
[Act I.
youth I would fain dissuade him, but he will not be entreated.
Speak to him, ladies ; see if you can move him.
Cel. Call him hither, good Monsieur Le Beau.
Duie F. Do so : I '11 not be by.
Le Beau. Monsieur the challenger, the princess' call for you.
Orl. I attend them with all respect and duty. 141
Ros. Young man, have you challenged Charles the wrestler.-'
Orl. No, fair princess; he is the general challenger: I
come but in, as others do, to try with him the strength of my
youth.
Cel. Young gentleman, 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
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.
Ros. Do, young sir; your reputation shall not therefore
be misprised ; we will make it our suit to the duke that the
wresthng might not go forward. 154
Orl. I beseech you, punish me not with your hard thoughts,
wherein I confess me much guilty, to deny so fair and c xcel-
lent ladies any thing. But let your fair eyes and gentle
wishes go with mf to my trial : wherein if I be foiled, there
is but one shamed that was never gracious ; if killed, but
one dead that is willing to be so : I shall do my friends no
wrong, for I have none to lament me, the world no injury,
for in it I have nothing ; only in the world I fill up a place,
which may be better supplied when I have made it empty.
Ros. The little strength that I have, I would it were with you.
Cel. And mine, to eke out hers. 165
Ros. 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?
Orl. Ready, 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 mightily persuaded him from a first.
Orl. An you mean to mock me after, you should not ha\e
mocked me before : but come your ways. 176
Ros. Now Hercules be thy speed, young man .
Cel. I would I were invisible, to catch the strong fellow by
the leg. [Wrestle.
Ros. O excellent young man ! 180
Scene a.]
AS YOU LIKE IT.
39
Cc/ If I had a thunderbolt in mine eye, I can tell who
should down [^y,,^,. '^Aa^^^^ isT^Jwn
Vuke F. No more, no more.
%['t^f' I beseech your grace : I am not yet well breathed
Duke F. How dost thou, Charles.? cauitu.
Le Beau. He cannot speak, my lord
^"J'^\ "^T ^'"^,.^^^-^y- ,What is thy name, young man?
de £ys ' ""^ ^'^'' '^^ youngest son of' Sir R^vSd
Duke >. I would thou hadst been son to some man else •
J f ^A^A^^fl^^^ ^'^y f^^her honourable, ^q,
But I did find him still mine enemy ^
Shc.!""'"!? * ^^^'\ ^f l^^' P^^^^^d •"« ^^'th 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.
r.i \\i T l^^*^""* ^^^'^ P^'^'i-, (rain, and Le Bcmt
Cel Were I my father, coz, would I do this.?
un. I am more proud to be Sir Rowland's son
His youngest son,-and would not change that ca'llinir
To be adopted he r to FrfH^rir-t *" waning,
200
To be adopted heir to Frederick
An^''^!^/ ^^'^f^^ '°''^'^ ^''' Rowland as his soul,
And all the world was of my father's mind •
Had I before known this young man his son.
1 should have given him tears unto entreaties,
tre he should thus have ventured.
Let us go thank him and encourage him^ ^°"sin,
My father's rough and envious disposition
ff vn.! T^"^ ^^^'^- ^''■' y°" ^^^-e ^^ell deserved :
It you do keep your promises in love
But justly, as you have exceeded all promise.
Your mistress shall be happy. '
'^'^^- Gentleman,
Wear .his for me, one JS'Sj'Z^HSl^U:"" ""'"'"■
Srgofc^.r"'' '"" """ "" '■^°'' '"Ck^ mean.
Or) ro« T . ^y- , ^,^''^ y°" ^■^"' fa'"" gentleman.
on Can I not say, I thank you.? Mv better o-irts
Are a 1 thrown down, and that Ihich heL standrip
Is but a qumtain, a mere lifeless block. ^
I'll «l i!-^ ""^^u "l'^^^'^: '"y pride fell with my fortunes •
I 11 ask him what he would. Did you call sir ? """•"' '
bir, you have wrestled well and overthrow^ ' 220
210
4°
AS YOU LIKI
[Act
More than your enemies.
^- Have with you. F^reVrvSil.'"-
on. What passion hangs these^wS^^^'''^'"^'' '^'''^ ^^^'
I cannot speak to her, yet she um..^ '^^ V "P°" '"y tongue
O poor Orlando, thou' art overtKv„r^"^"^«-
Or Charles or something weaker misters thee
Le Beau. Good sir^T'^''^'^ ^=^"-
. To leave This pTace 'ilbei;"vnrh'^''^T ^°""^^J ^^^
on. I thank you s^r Ini^" ^ '° "P^^"^ o^-
Scene III. ^ r..«, /« ,^,^^;^,^
0/ wi, ^''''^'■CELiA««rt' Rosalind.
nota wS3?' ^°"^'"' -hy' Rosalind.' Cupid have mercy:
240
250
Scene 3.]
AS YOU LIKE IT.
4«
Ros. Not one to throw at a dog.
Cel. No, thy words are too precious to be cast away upon
^"«' *^I5^ ^'""^ °^ ^^^^ ^t me; come, lame me with reasons.
Lu ,j J . *^''®. ^^'■® ^^° 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.?
I r^"?- ^.°' f?""^ of 't 's for my child's father. O, how full
lof briars is this working-day world ! 10
I Cel. They are but burs, cousin, thrown upon thee in holiday
[foolery: if we walk not in the trodden paths, our very oetti-
I coats will catch them. *^
lios. I could shake them off my coat : these burs are in
I my heart.
Cel. Hem them away.
Ros. I would try, if I could cry 'hem' and have him.
Cel. Come, come, wrestle with thy affections. 18
Ros. O, they take the part of a better wrestler than myself!
Cel. O, a good wish upon you ! you will try in time, in
despi e of a fall. But, 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 Rowland's
youngest son?
Ros The duke my father loved his father dearly.
Cel. Do^ It therefore ensue that you should love his son
fT^i .^I^H H!""* ?^ '^^*^^' ^ should hate him, for my
father hated his father dearly ; yet I hate not Orlando.
Ros. No, faith, hate him not, for my sake.
(^l. Why should I not? doth he not deserve welP ^o
Ros. Let me love him for that, and do you love him because
1 do. Look, here comes the duke.
Cel. With his eyes full of anger.
Enler DuKE Frederick, 7vii/t Lords.
Duke F. Mistress, dispatch you with your safest haste
And get you from our court.
^\ ^ Me, uncle?
xkTZ £' . . You, cousin:
Within these ten days if that thou be'st found
iio near our public court as twenty miles.
Thou diest for it.
T ^''^' X. , ^ ^° beseech your grace,
Let me the knowledge of rny fault bear with me:
If with myself I hold intelligence 40
Or have acquaintance with mine own desires.
It that I do not dream or be not frantic,—
^^
"AS YOU LIKE IT.
[Act I.
As I do trust I am not then, dear uncle
DfdTnff "IT"^ ^'t" ^ ''^""^ht unborn '
Uid I offend your highness.
If their purgation did consistTn wo'rSs?" ^""^''^ =
I Jm/'V '""°cent as grace itself:
Let .t suffice thee that I trust thee not.
Ms. Yet your mistrust cannot make me a traitor-
Me Frr '^' '["^^"^^^^ ^^P^"ds ''""°' •
mTq ^ho" art thy father's daughter: there 's enn.mh'
1 reason is not mherited, my lord ;
What 'slht ."^^"^1 '- ^'■^'" ^"^ fr'^"ds,
What s that to me.? my father was no raitor-
S thin^^mv""^ J'ege,mistake me not so muck
1 o think my poverty is treacherous.
7). A I^V"^^""^'^'"' hear me speak.
B.7t nn "i^r"^ l^^^ t™« to value he^;
?ni.w ^ v'^"^'' ^"'^ h^"- patience
^ and .rrevocable is my doom " "^
And in the greatness of my word, you die
71
8o
■Scene 3.]
AS YOU LIKE IT
43
Ros. I have more cause.
In ^l'" u X. r , . ^^°^ '^^st not, cousin :
IPnthee, be cheerful : know'st thou not, the duke
I Hath banish'd me, his daughter?
?7" M I, .u , T, . ^^""^ h« ^ath not.
,„£«• No, hath not? Rosahnd lacks then the love
I Which teacl.cth thee that thou and I am one-
I Shall we be sunder'd? shall we part, sweet girl?
I No: let my father seek another heir.
I Therefore devise with me how we may fly,
I Whither to go and what to bear with us ; '
I And do not seek to take your change upon you,
I To bear your griefs yourself and leave me out;
I For, by this heaven, now at our sorrows pale.
Say what thou canst, I '11 go along with thee.
Ros. Why, whither shall we go?
Ce/. 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 !
Beauty provoketh thieves sooner than gold.
^f- .1 '11 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
I And never stir assailants.
^^^- Were it not better,
because that I am more than common tall,
I 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 thfie will—
We'll have a swashing and a martial outside.
As many other mannish cowards have
That do outface it with their semblan- is.
Ce/. What shall I call thee when tho. art a man?
A fii i ,^ ^° *°''^® ^ "*!"« than Jove's own page :
And therefore look you call me Ganymede.
But what will you be call'd?
Ce/. Something that hath a reference to my state:
No longer Celia, but Aliena.
Ros But, cousin, what if we assa^d to steal
ihe clownish fool out of your father's court?
Would he not be a comfort to our travel?
Ce/. He'll go along o'er the wide w^rld with me;
Leave me alone to woo him. Let 's away.
And get our jewels and our wealth together,
90
100
no
120
44
AS YOU LIKE IT.
Devise the fittest time and safest way
io hide us from pursuit that will be made
Tn lihL"^ ^'^^J- N°^ SO we in content
lo liberty and not to banishment.
[Act n
[£jt:uf$/. ijc
ACT II.
Scene I. r/te Fores/ oj Arden.
Enter Duke senior Amiens, and two or three Lords.
like foresters.
H.'?K 1' f • 1?*"^' ""y co-mates and brothers in exile
Thin Th ?'? '^"''"'^ '"^'^^ *h'« "^e "^""-e sweet '
More til fr P^'"*^? ?°'"Pu' ^'^ "°^ these woods
H^r« / 1 T P^"' tha" the envious court?
Here feel we but the penalty of Adam,
The seasons' difference, as the icy fang
wv l^'t'^ *?^i^'"^^ °f the winter's wind,
Ev^n t^r^K •* f"«? and blows upon my body,
' ThU • ^ 'i'""'' ^"'^ ^«''^' ^ s'niJe and say ^'
TwV r?^"^*^- these are counsellors
inat feehngly persuade me what I am'
b weet are the uses of adversity,
Which, hke the toad, ugly and venomous,
Wears yet a precious jewel in his head ;
And this our life exempt from public haunt
Finds tongues in trees, books in the running brooks
fruKtSleTt' ^°°' '" ^'^^ ^^^'"^
ThItTan translate the sSb^SXSne
Into so quiet and so sweet a style
And vet i" jS.^^' '.^" ""^ ^? ^"d J^i" "s venison?
R^^JnV.- I ""V*"^ P*'"'' dappled fools,
Being native burghers of this desert city,
SllT- ^^ Tu" ''°"?"^^ ^'th forked heads
Have their round haunches gored
First Lord. ' At^a^^a ^ t j
The melancholy Jaques grieves at t^ "^ ^°''^'
Th.n'^ lu^^ '""!' ^T^" y°" <^o more usurp
1 han doth your brother that hath banisiPHTouX
^tday my Lord of Amiens and myself ^ -^
Did steal behind him as^he lay along
10
«S
20
Scene i.]
AS YOU LIKE IT.
45
nder an oak whose antique root peeps out
pon the broolTthat brawls alon£.this wood :
"o the which place a poor sequester'd stag^
hat from the huntet^ aim had ta'en a hurt,
IDid come to lanyiish jand indeed, my lord,
IThe wretched animal^eaved forth such groans
[That their discharge did stretch his leathern coat
I Almost to bursting, and the big round tears
Coursed one another down his innocent nose
In piteous chase ; and thus the hairy fool
■ Much marked of the melancholy Jaques,
I Stood on the extremest verge of the swift brook.
Augmenting it with tears.
\rs-^"J''^' ,. ,. But what said Jaques?
Did he not moralize this spectacle?
I ftrsf Lord. O, yes, into a thousand similes.
!• irst, for his weeping into the needless stream :
Poor deer', quoth he, 'thou makest a testament
As worldlings do, giving thy sum of more
f 1 nn7K''^''^l*°?u"?"'^^/ ^^^"' ^'""^ there alone,
Left and abandon'd of his velvet friends
•^T is right': quoth he, «tlius misery doth part
The flux of company': anon a careless herd,
l-ull of the pasture, jumps along by him
And never stays to greet him ; 'Aye', quoth Jaques,
bweep on, you fat and greasy citizens ;
^ is just the fashion : wherefore do you look
Upon that poor and broken bankrupt there?'
Thus most invectively he pierceth through '
1 he body of the country, city, court.
Yea, and of this our life, swearing that we
Are mere usurpers, tyrants and what's worse,
1 o fnght the animals and to kill them up
nh c^^"^'** ^"'^ "^^'^^ dwelling-place.
W /f;/w ^'ir"^ ^^.^^^ ^'"^ '" th's contemplation?
Upt'tt: fobbing'^er '"'' "'^P'"^ ^"^ commenting
iif^'^f'^- V. . Show me the place:
Uove to cope him m these sullen fits,
For then he 's fall of matter.
First Lord I 'II bring you to him straight. \Exeunt
40
Vi
60
I >. -!
AS YOU LIKE IT.
Scene II. A room in (he palace.
[Act I]
Enter Duke Frederick, wUA Lords.
DuA^e F ran it be possible that no man saw them?
It cannot be : some villains of my court
Are of consent and sufferance in this
Tl^^T/i- u- ^ *''"'"?* ^^^' °f any that did see her
Saw h.r /'w ^"j'fda'?'^ «f her chamber.
Saw her a-bed, and m the morning early
ii^ SA'r '^?^""',^--^"red of thei 'mistress.
v„, ^- '^'"^''•CMy lord, the roynish clown, at whom so oft
HU.L^''*?k'''^'-^°"' '° '^"?h, is also missiig.
H.spena, the pnncess' gentlewoman, ^
Confesses that she secretly o'erheard '**
Your daughter and her cousin much commend
x^.P?"?!^"^ S^*"*"^ of the wrestler
That did but lately foil the sinewy Charles •
And she believes, wherever they are gone '
nulTS" i' '!i''^'yj." their compan?. ) '
To bnng agam these foolish runaways. [ExeuZ
Scene in. Be/o-e Ouvv.^^s house. \
Enter Orlando and Adam, meeting.
Orl. Who's there.? ^
n mf^f • Y*"^*' ""y y°""^ master? O my gentle masti^r
nf^i^H r^o"'^,''^''' O you memory ^ 8^^°*'^ "taster
Of old Sir Rowland! why, what make you here?
Why are you virtuous? why do people love you?
wt would vou't^ ^""Z!?^'"' ^^^°"^ and vaSt?
vvny would you be so fond to overcome
The bonny priser of the humorous duke?
Your praise is come too swiftly home before vou
Know y„^ „^^^ ^^ ^^ ^^2^ ki^d of men '
5o mo^r^Sn '''■^" '^^'" ^"^ ^^ enemies?
AreTanctifieJ^rK^'" ^''^""^' ^^^"^'« '"aster,
^re sanctihed and holy traitors to you.
O, what a world is this, when what is comelv
Envenoms him that bears it • ^
Orl. Why, what's the matter?
10
Scene j.J
AS YOU LIKE IT.
47
20
Adam. O unhappy youth'
Come not within these doors ; within this Viof
1 he enemy of all your graces lives •
Your brother-no, no brother; yet the son-
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
1 o burn the lodgmg where you use to lie
And you within it: if he fail of that,
He will have other means to cut you off.
I overheard him and his practices
This is no place ; this house is but a butchen-
Abhor It, fear it, do not enter it. "
Orl. Why, whither, Adam, wouldst thou have me ?o?
Adam Jio matter whither, so you come not here ^ ,0
Ori.yNh^i, wouldst thou have me go and beg my food ' ^
Or with a base and boisterous sword enforce ^ ^ "*°** '
A thievish living on the common road>
This I must do, or know not what to do ■
Yet this I will not do, do how I can •
I rather will subject me to the malice
Of a diverted blood and bloody brother
Tdfu% ^u-* ^""^ "°^ '?• ^ have five hundred crowns.
uSf- u"/'J- J"'^ ' '^^«d ""de^ your father.
Which I did store to be my foster-nurse
When senice should in my old limbs lie lame
! And unregarded age in comers thrown :
Take that, and He that doth the ravens feed
^ea, providently caters for the sparrow
Be comfort to my age ! Here is the gold ;
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
ihe nieans of weakness and debility:
Therefore my age is as a lusty winter.
Frosty, but kindly: let me go with you ;
I 11 do the service of a younger man
In all your business and necessities.
The rnn..!^** ^'"^ ""*!?' .^^^ ^^^" "" ^^ee appears
ihe constant service of the antique world.
When service sweat for duty, nol for meed !
Thou art not for the fashion of these times,
Where none will sweat but for promotion, ^
40
50
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I -
[Act II.
70
[Exeunt.
<• AS VOU LIKE IT.
And haying that, do choke their service up
fcven with the having: it is not so with thee.
But, poor old man, thou prunest a rotten tree.
I hat cannot so much as a blossom yield
In lieu of all thy pains and husbandry.
But come thy ways; we'll go along together.
And ere we have thy youthful wages s^ent,
We U light upon some settled low content
Adam. Master, go on, and I will follow thee.
I o the last gasp, with truth and loyalty
From seventeen years till now almost fourscore
Here lived I, but now live here no more
At seventeen years many iheir fortunes seek:
But at fourscore it is too bte a week •
Yet fortune cannot recompense me better
man to die well and not my master's debtor.
Scene I V. The Forest of Arden.
Enter Rosalind /^r Ganymede, Celia>,- Aliena
and Touchstone. '
I^s. O Jupiter, how weary are my spirits !
^^r1cou?H fin?-^"' ""^K- ''"''' i ""y '«?^ "^^^e not weary,
an? .; I'r ""* '" "^y ^^^"^ *o disgrace my man's apoare
vLJ "^ ''i? * '''°'"^"' b"t ^ '""St comfort the weake
to Sicoar "thltr^ '^°'"°"«^'^^ ^° ^h°- itself courlleou
to petticoat . therefore courage, good Aliena ! ^
tLA ^1?^ y°"' ^" ""'^^ "'^' ^ <^annot go no further
Touch. For my part, I had rather bear with vou than ho.r
you; yet I should bear no cross if I did be^r you forTthS
you have no money in your purse ^ '
J^s. Well, this is the forest of Arden. '°
v.jTi' ^y' "°^^a!" I in Arden; the more fool I- when 1
contem ""'' ^ ""' '" " ^'''' P'^'^- b"t travellirl'musrbe
Eos. Ay, be so, good Touchstone.
Enter Corin and SiLVius
sdem/Sk."'° ^""^ '^"^ ^ y°""^ -- -d an old in
^%^y' n^r^ -^ *\^ "^^y '° "^^^^ ^^^ ^com you still.
St/. O Conn, that thou knew'st how I do love her'
Cor. I partly guess; for I have loved ere now ,o
St/. No, Conn, being old, thou canst not guess
Though ui thy youth thou wast as true a lover
i^
§
Icene 4.]
AS YOU LIKE IT.
49
{Exit.
40
U ever sijfh'd upon a midnijjht pillow:
3iit thy love were ever like to mine—
Vs sure I think did never man love so
^ow many actions most ridiculous
llast thou been drawn to by thy fantasy'
9'r i"'° '' thousand that I have forifntten^
Sil. O, thou didst then ne'er love so heaFTiIv'
iMhou rcmember'st not the slightest 1 )lly '
1 hat ever love did make thee run into
thou hast not loved: '
)r if thou hast not sat as I do now,
^Vearing thy hearer in thy mistress' praise
Thou hast not loved: '
> if thou hast not broke from company
^bruptly, as my passion now makes me.
Thou hast not loved.
) Phebe, Phebe, Phebe!'
Ros. Alas, poor shepherd! searching of thy wound
have by hard adventure found mine own '
louch. And I mme. I remember, when I was in love I
^roke my sword upon a stone and bid him take Vat for
commg a.mght to Jane Smile; and I remember the kissine
of her batlet and the cow's dugs that her pretty chopt hand!
had milked; and I remember the wooing of a oeascod in
stead of her, from whom I took two cods and ^gfvin^ w
ak?'\ve'.S^ ^''^ ^V^"^^ '^^'^ 'Wear thele fo^r my
n .„• ■ ^^^ that are true lovers run into strange capers- hit
^oily." '' """""^ '" ""^"^«' ^° '^ ^" "ature in love S'aHn
Ros. Thou speakest wiser than thou art ware of ^'
Ros. Jove, Jove! this shepherd's passion
/ "f^^^ "P°" "^y fashion.
c7\\^^v^'TV.^'"\ '' ^'™^' something stale v-a me.
Ilf he for K ^°n' °^ "'^y"" question yond man
I I ne tor gold will give us any food-
|i laint almost to death
pTi r , . Holla, you clown! 60
Ros. Peace, fool: he's not thy kinsman. ^
ToucA. Your betters, sir. ^^'^° '^'^ •
Rol Peace I sav r /'^^ ^''^ ^^^^ ^^"^ wretched.
Cor ^nH fA ^ ^?'^- ^^^" '" y°". friend.
t<7r And to you, gentle sir, and to you all
P
so
AS YOU LIKE IT.
[Act II.
Ros. I prithee, shepherd, if that love or gold
Can in thi , desert place buy entertainment.
Bring us where we may rest ourselves and feed:
Here 's a young maid with travel much oppress'd
And faints for succour.
Cor. (Fair sir, I pity her.
And wish, for her sake more than for mine own, 70
My fortunes were more able to jreiieve her;
But I am shepherd to another man
*.nd do not shear the fleeces that I graze:
ly master is of churlish disposition
And little recks to.find the way to heaven
\3y doing deeds of hospital ity:^
Besides, his cote, his flocks and bounds of feed I
Are now on sale, and at our sheepcote noK,
By reason of his absence, there is nothings
That you will feed on; but what is, come see, 80
And in my voice most welcome shall you ijs,S
Ros. What is he that shall buy nis flock afid pasture?
Cor. That young swain that you saw here but erewhile.
That little cares for buying any thing.
Ros. I pray thee, if it stand with honesty.
Buy thou the cottage, pasture and the flock.
And thou shalt have to pay for it of us.
Cel. And we will mend thy wages. I like this place,
And willingly could waste my time in it.
Cor. Assuredly the thing is to be sold: 90
Go with me: if you like ujion report
The soil, the profit and this kind of life,
I will your very faithful feeder be
And buy it with your gold right suddenly. [Exeunt.
Scene V. The forest.
Enter Amiens, Jaques, a«| Well said! thou lookest cKy? and I
JnL t"*"-!^ u^^ V"^^^- ^'^' ^^°" "««t '" the bleak air: i
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 desert
Cheerly, good Adam! [Exeunt. i6
A table set out.
Scene VII. The forest.
Enter BvK^ senior, Amiens, and Lords
like outlaws.
Duke S. I think he be transform'd 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. ' "
y^^^JfJl ''"he, compact of jars, grow musical,
We shall have shortly discord in the spheres.
Oo, seek him: tell him I would speak with him.
Enter Jaques.
First Lord He saves my labour by his own approach.
^S^^'fc,.
Scene 7.]
AS YOU LIKE IT.
Duke S. Why, how now, monsieur! what a life is this
That your poor friends must woo your company? *
What, you look merrily! »F«"»y.
M 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 bask'd him in the sun.
And rail d on Lady Fortune in good terms
In good set terms and yet a motley fool '
Good-morrow, fool,' quoth I. ' No, sir,' quoth he.
Aji\r ri°°^ till heaven hath sent me fortune^
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 worid wags-
T is but an hour ago since it was nine.
And after one hour more 't wi)l be eleven-
And so, from hour to houf, we ripe ahd ripe.
And then, from hour to hour, we rot and rot.
And thereby hangs a tale.' When I did hear
1 he motley fool thus moral on the time
My lungs began to crow like chanticleer,
An?i?i°?i'^°u'^ ^^ '.° deep-contemplative.
And I did laugh sans intermission
An hour by his dial. O noble fool'
A worthy fool ! Motley 's the only wear.
Duke S. What fool is this?
a;^''^' ° vT!?y ^°^^\ °"« ^^^^ 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
wSoi7°^^^.^' ^^ t^th strange places cramm'd
With observation, the which he vents
In mangled forms. O that I were a fool '
I am ambitious for a motley coat.
Duke S. Thou shalt have one.
Pr&d that you weed your better judTeSs^'^
Of all opinion that grows rank in them
1 ftat I am wise. I must have liberty
\Vithal, as large a charter as the wind,
AnH r °" ^ho"* I please; for so fools have;
And they that are most galled with my fojlv
£ Vhv' /""f'-'^"^'^- ^"^ *hy, sir, must they so?
ine why is plain as way to parish church:
S3
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40
SO
IJ T
54
AS YOU LIKE IT.
6''-
I I
[Act II.
V
He that a fool doth very wisely hit
Doth very foolishly, although he smart,
Not to seem senseless of the bob: if not
The wise man's folly is anatomized
Even by the squandering glances of the fool.
Invest me m my motley; give me leave
To speak my mind, and I will through and through
Ueanse the foul body of the infected world
If they will patiently receive my medicine
r \?tI r°'^ ^^^^- ^ *=^" *«" what thou wouldst do,
/Of. What, for a counter, would I do but good.?
Me ^. 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,
Ihat thou with license of free foot hast caught,
Wouldst thou disgorge into the general world.
y^?- V^y. who cries out on pride.
That can therein tax any private party?
?•?,." "°^ ^°'*' ^s 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
rhe cost of pnnces on unworthy shoulders?
Who can come in and say that I mean her.
When such a one as she such is her neighbour.?^
Or what IS he of basest function >
That says his bravery is not on my cost,
1 hinking that I mean him, but therein suits
His folly to the mettle of my speech'
There then; how then? what then? Let me see wherein
My tongue hath wrong'd him: if it do him right!
Then he hath wrong'd himself; if he be free,
Why then my taxing like a wild-goose flies,
U nclaim d of any man. But who comes here ?
Enfer Orlando, wt/A his sword drawn.
Orl. Forbear, and eat no more.
n^i Mr.- ,1, u » .11 ■ ^^y' ^ ^*^'6 eat none vet.
Url. Nor shah not, till necessity be served
/aq Of what kind should this cock come off? qo
Or'^Tst. niH^H °" »h"%bolden'd, man, by thy distress, "^
Ur else a rude despiser of good manners,
Ihat m civihty thou seem'st so empty?
Orl. You touch'd my vein at first: the thorny point
6o
7°
S^
ap
I Scene 7.]
AS YOU LIKE IT.
55
no
lof bare distress hath ta'en from me the show
JOf smooth civihty: yet am I inland bred
lAnd know some nurture. But forbear, I sav
I He dies that (ouches any of this fruit '
iTill I and my affairs are answered
' Jaq An you will not be answered with reason I m„cf ]?°
Z?«.^^^^Vhat would you have.> it^Tn^nSrSi
[More than your force move us to gentleness.
nL}t'^^\^''' for food; and let me have it.
nJ iJ"^ ^""^ *"** ^^^^^ ^"d «'«Jcome to our table
Orl. Speak you so gent v.? Pardon m*» f r.-,
i thought that'all thi/gs ha'd been savage 'he?/. > '°" =
And therefore put I on the countenance '
?i sf «™^^?""nandrnent. But whate'er you are
VTY-KWn this desert inaccessible,
Under the shade of melancholy boughs
Lose and neglect the creeping hours of 'time;
f ever you have look'd on better days,
fever been where bells have knoU'd to church
f ever sat at any good man's feast. '
If ever from your eyelids wiped a tear Nj ,
And know what 't is to pity and be pitied. '■ '
Let gentleness my strong enforcement be:
yfe7c'T^°P? • ^l""^' ^"d hide my sword.
A ^Z' ^' T™« 's It that we have seen better dav^
And have with holy bell been knoll'd to church '
And sat at good men's feasts and wiped our eyes
Of drops that sacred pity hath engendePd: ^
And therefore sit you down in gentleness
And take upon command what help we have
That to your wanting may be minister'd.
ym^L Tu ^f ^°^''^^'' y^""" ^°od a little while
Whiles, like a doe, I go to find my fawn
And give ,t food. There is an old poor man,
Who after me hath many a weary step '
Limpd in pure love: till he be first sufficed
\xS*^'\^ ,. Go find him out.
And we will nothing waste till you return.
I OrL I thank ye ; and be blest for your good comfort '
'\n
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56
AS YOU LIKE IT.
[Act II.
wTerdn we plaTin"' ''^''^'^ ^^^ *^^ --«
A Ai *!, . -^^ ^he world 's a stage.
And all the men and women merely players'
They have the.r exits and their entraLe?^^
H?s ;S« /!!• " '" *"" '""^ p'^y^ '"^"y parts,
His acts being seven ages. At first the infant
JlT l" ^ ^"d puking in the nurse's arms. '
And then the whmmg school-boy, with his satchel
And shmmg morning face, creeping like snaU '
SiS^Fi^ V° ''=^°°'- ^"d the^n the lovS.
Sighing like furnace, w.th a woeful ballad
Made to his mistress' eyebrow. , Then a soldier
f."l°^ -'T^" ""^'^^ ^"d bearded like the pard'
Jealous m honour, sudden and quick in quarrel
Seeking the bubble reputation quarrel.
Even m the cannon's mouth. And then the justice
In fair round belly with good capon lined '' '
With eyes severe and beard of formal cut
Full of wise saws and modern instances;
IrSn fh}^ plays his part. The sixth age shifts
Into the lean and slipper'd pantaloon, ^
With spectacles on nose and pouch on side
For ^^T^ l^^'t' T" ^^^«'^' ^ world too wide
For his shrunk shank; and his big manly voice
llT^^- ^P"? 'r^-"^ ^h-^d'^h treble, p"^s '
Thi 'ffl'"" *"' '°""d- Last scene ^all,
That ends this strange eventful history, '
S.n!?"!''^'''^"^"^'' ^"d ""ere oblivion,
bans teeth, sans eyes, sans taste, sans everything.
Re-enter Orlando with Adam
An?t h^m'feed""" '^' ^°^" >'°"^ ^-^''-ble burden
I scare? can speak to thank you for myslf'"" "''^•" „„
As^^f t-"' '^''^°"^^' ^^" ^°^ I ^" S t ouble you ^
As ye , to question you about your fortunes. ^
Give us some music; and, good cousin, sing.
Song.
Ami. Blow, blow, thou winter wind,
Thou art not so unkind
As man's ingratitude ;
140
'5c
160
Scene 7.]
AS YOU LIKE IT.
$7
Thy tooth is not so keen,
Because thou art not seen,
u • V u , A'thou^h thy breath be rude.
Heigh-ho ! smg, heigh-ho ! unto the green holly • , 80
Most fnendsh.p is feigning, most loving mere folly ; ^
Then, heigh-ho, the holly! ^
This life is most jolly.
Freeze, freeze, thou bitter sky,
That dost not bite so nigh
As benefits forgot :
Though thou the waters warp,
Thy stmg is not so sharp
u • L ,. . ^^ ^"^"^ remember'd not.
Heigh-ho ! smg, &c,
190
Du^eS. If that you were the good Sir Rowland's son
As you have whisper'd faithfully you were '
And as mme eye doth his effigies witness '
Most truly limn'd and living in your face.
Be truly welcome hither: I am the duke
That loved your father: the residue of your fortune
Go to my cave and tell me. Good old man, '
Thou art right welcome as thy master is
Support him by the arm. Give me your hand
And let me all your fortunes understand. [Exeun/ 200
ACT III.
Scene I. a room in the palace.
Enter Duke Frederick, Lords, and Oliver
Bufwtre^i n^ofth^h^r ""'^"- ^J-"' ^•^' '^^' ^^""^^ be:
I ^LT,mV r , ^^^^"^ P^" '"ade mercy,
I should not seek an absent argument
FinH^ 7!^"^^' ^'?°" Present-x^ut look to it:
F^nd out thy brother, whereso>er he is ;
Wkhin Sir/i f "^'"' 5""^ ^™ dead or living
To slk 5 fi^^''^^'"°"'^' ""^ *"™ thou no more
i o seek a living m our territory.
Worth"4izu?f df ''''"^•^ '^^* ^^°" d°^* ^^" thine
T^S fhnn l*^'' we seize into our hands,
O what we^Kn?'* '*'•'" by thy brother's mouth
wi wnat we think against thee. \
10
lJ:r
t, i
{
S8
AS YOU LIKE IT.
[Act III.
"^ O/i. O that your highness knew my heart in this !
I never loved my brother in my life.
An^lf ^' ^«™ '''"?'" ^1»°"- Well, push him out 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. HaJig there, my verse, in witness of my love:
«r^u J"°"i' thnce-crowned queen of night, survey
With thy chaste eye, from thy pale sphere above.
Thy huntress' name that my full life doth sway.
Rosalmd ! these trees shall be my books
And m their barks my thoughts I '11 character;
That every eye which in this forest looks
bhall see thy virtue witness'd everywhere.
Kun, run, Orlando ; carve on every tree g
1 he fair, the chaste and unexpressive she. \Extt.
Enter Corin and Touchstone.
stoned ^^^ ^""^ """^ ^°" ^^'^ shepherd's life. Master Touch-
iift??'w-^™'y' ^^^P^^""^. in respect of itself, it is a good
life; but in respect that it is a shepherd's life it is naJeht
In respect that it s solitary, I like it very well ; but Tn resS
tVl t?rT\ '* '^ t ^^"^ ^'« "f«- Now,'in re pect ^Tis
n the fields. It pleaseth me well; but in resect it iTnot in
the court. It is tedious. As it is a spare life, look you it fits
my humour well; but as there is no more Sen^ inTit l^^^^
sT^herir^' "^^ ''°"^"'^- ""^^ ^y pfcloso'phy^in th?e;
Cor. No more but that I know the more one sickens thi
rnd'r'onlT" \'^' ^"u^ ^^^^ ^^ ^^at wants money, melns
and content is without three good friends; that the property
sun thS Slwl.^^f''^* "^."'^ °^.*« "'^h* •« Ja<=k of the
sun , that he that hath learned no wit by nature nor art may
complain of good breeding or comes of a very duH kiSdreT
cou'2,^1eptrd ' °"' •' ' ""^"'■"^ philosopher. Wast ever in
Cor. No, truly. ^°
Touch. Then thou art damned.
Cor. Nay, I hope.
; I
I J
Scene a.]
AS YOU LIKE IT.
S9
Touch. Tn\y, thou art damned, like an ill-roasted eee all
on one side. *°
$"■• Y°\^^ being at court? Your reason. ,6
Touch. Why, If thou never wast at court, thou never
sawest good manners; if thou never sawest g^d manners
then thy manners must be wicked; and wickedneS is sin'
^r.rMn?r"K-.'°^- ?°" ^"^ I" « P*^^o"s state, shepherd
C^r. Not a whit, Touchstone: those that are goJd mlnner^
at the court are as ndiculous in the country as the behavioS
of the country is most mockable at the coirt. You told me
you salute not at the court, byt you kiss your hands! tS?
courtesy would be uncleanly, "l^ourtiers were shepherds. 45
7b«f/« Instance, bnefly; 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
Sfin^^J^fir °^»,^,r"°'\\' wholesome as the sweat of a
man? Shallow, shallow. A better instance, I say; come
CV^n Besides, our hands are hard. «*y, come.
Touch Your lips will feel them the sooner. Shallow
again. A more sounder instance, come. anaiiow
Cor And they are often tarred over with the surgery of
our sheep; and would you have us kiss tar? The courtieri
hands are perfumed with civet. i-ouniers
Touch Most shallow man! thou worms-meat, in resoect
of a good piece of flesh indeed ! Learn of the w U aid K
pend: civet is of a baser birth than tar, the veJt uncle£?lv
flux of a cat. Mend the instance, shepherd. ^ "ncleanly
i'"'" * «rM*^®.**^ '^^"'^'y a ^'t for me: I '11 rest.
m;.n . r^^ ?°" -^^^ damned? God help thee, shallow
man! God make incision m thee! thou art raw.
tor. bir, I am a true labourer: I earn that I eat. eet that
I wear, owe no man hate, envy no man's happiness,?lad of
other men's good, content with my harm, and the ereftest of
anH T ** '^ another simple sin in you, to bring the ewes
the devil'Z'ir'^f I ^^ thou beest not damnel for thfs
miS;ss'"b'rSheT'' '°""^ ^"^^^'" ^^Y^^^^^ ^ new
Enter Rosalind, with a paper, reading.
Ros. From the east to western Ind,
No jewel is like Rosalind.
AS VOU LIKE IT.
lAct III.
80
90
# ■
Her worth, being mounted on the wind.
Through all the world bears Rosalind
All the pictures fairest lined
Are but black to Rosalind.
Let no fair be kept in mind
But the fair of Rosalind.
Ros. Out, fool !
Touch. For a taste :
If a hart do lack a hind.
Let him seek out Rosalind.
If the cat will after kind,
So be sure will Rosalind.
Winter garments must be lined,
So must slender Rosalind.
They that reap must sheaf and bind:
1 hen to cart with Rosalind.
Sweetest nut hath sourest rind,
Such a nut is Rosalind.
He that sweetest rose will find
Must find love's prick and Rosalind
Sue ofthTmedS? >"" ^ """ "^' "^ "■'''' "« ^gt
£'«/^/- Celia, 2t>M a writing.
Ros. Peace!
Why should this a desert be?
For It is unpeopled.? No ;
Tongues I '11 hang on every tree,
1 nat shall civil sayings show •
borne, how brief the life of man
Runs his erring pilgrimage,
no
Scene >.]
AS YOU LIKE IT.
6i
I30
IJO
That the stretching of a span
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.
Will I Rosalinda write,
Teaching all that read to know
The qumtessence of every sprite
Heaven would in little show.
Therefore Heaven Nature charged
„ That one body should be fill'd
With all graces wide-enlarged :
Nature presently distill'd
Hden's cheek, but not her heart,
Cleopatra's majesty,
Atalanta's better part.
Sad Lucretia's modesty.
Thus Rosalind of many parts
By heavenly synod was devised,
Ofmany faces, eyes and hearts,
To have the touches dearest prized
?S717"''^ ^^VH ^^^'^ «^'fts should have,
And I to live and die her slave.
Ros. O most gentle pulfiiter! what tedious homily of love
,r,^Ti '~T^ Shepherd, let us make an honourable re-
Siat " ""' ""'" '"*' ^4 baggage, yet with scrip aSl
TrSdst .hou hear these SS?' '''"•* "*' '"'-^^"ITc
thZ\PA''"k ' '"'"■'' 'i"™ ="■ ""d "«>" loo; for some o1
Crf^;?. ""^ "^^ '^' "'"•' "" verses woild b^
£wlL'L^t^er^^d'X\liLrsrL"?LX''„'-Tj
£Sf=^— ^^^^^^^^ "its
140
>t
'h
\
marks?
*",5,'r ''^ »">'* you have „„,, a bl„. .ye a„d
£
66
AS YOU LIKE IT.
[Act III.
X iji
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: then your hose should be un-
gartered, your bonnet unhanded, your sleeve unbuttoned, your
shoe untied and ever>' thing about you demonstrating a care-
less desolation; but you are no such man; you are rather
point-device in your accoutrements as loving yourself than
seeming the lover of any other. 349
Orl. Fair youth, I would I could make thee believe I love.
Ros. Me believe it I you may as soon make her that you
love believe it ; which, I warrant, she is apter to do than to
confess she does : that is one of the points in which women
still give the lie to their consciences. But, in good sooth, are
you he that hangs the verses on the trees, wherein Rosalind
is so admired?
Orl. I swear to thee, youth, by the white hand of Rosalind,
I am that he, that unfortunate he.
Ros. But are you so much in love as your rhymes speak?
Orl. Neither rhyme nor reason can express how much. 360
Ros. Love is merely a madness, and, I tell you, desenes
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.
Orl. Did you ever cure any so? 366
Ros. 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, 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 the most part cattle of this colour:
would now like him, now loathe him; then entertain him,
then forswear him ; now weep for him, then spit at him ; that
I drave my suitor from his mad humour of love to a living
humour of madness ; which was, to forswear the full stream
of the world and to live in a nook merely monastic. And
thus I cured him : and in this way will I t^e upon me to
wash your liver as clean as a sound sheep's heart, that there
shall not be one spot of love in 't. 381
Orl. I would not be cured, youth.
Ros. I would cure you, if you would but call me Rosalind
and come ever>' dciy to my cote and woo me.
Orl. Now, by the faith of my love, I will : tell me where it is.
Scene 3.]
AS YOU LIKE IT.
67
on With all my hSrt. gtSTouT" '"" ^"^ ^^ ^° '
yoif go?'''^' ^°" ""^^ ^*» -« R°-"nd. Come, sister, will
[Exeunt. 390
Scene III. The forest.
Enter TovcHSTc^^ and Audrey; Jaques 3.W
my simple feature conten yoU?^ ^ **'*' "^^ y«t? ths.
in a thatched hous?^^^ >ll-mhab.ted, worse than Jove
ma^stood'l'rse' Jed witTthfr^ "^ r.^^*-^' "- a
ng, it strikes a maS more iead ?h?^^^^ '^'^^ Unde^tand-
littleroom. Truly I wo„W t£ „^ "u*/""^** reckoning in a
Aud. I do noT^iwThat >f;?ci^fs' Sr'*'^ ^''^■
and word? is it a true thing? ^^*'*^^ '*• '^ it honest in deed
may be said as lovers they S'feiS) '^""^ '^^*'" '" P°«ry
'°S;/ '°" "'' '''" ' ^°'' ''' "'"' "^^
ho^«f „ow,1? thoi^^ert'a'i^t T'^'T i° *"« »hou art
thou didst feign. P^***' ^ '"'^ht have some hope
f^cA^Nn'^r'^ "°^ have me honest?
4'S;f.u%Tot^^^^^^^ tn^avrhl'^^^-^— <^= ^or
•i?>f4"t?^ A '"ateriS fool! ^"^^ ^""'^y ^ ='*"^« »° ^"fi'ar.
m£metneJt.''" "°^ '^'^^ -^ ^^-^fore I pray the gods
^*«^>i vKll74^ S^^^^^^^^^ I thank the gods I am foul
, ness may come'Cfen' ZZt t'-!"' ''f'r '^"S-
. thee, and to that end I hav? h 'f "^^^ ^' ^ «''" marry
i fJ'e vicar of the next viLat ^^^u T^' ^"' Oliver Martext
■n this place of^Vi^n^l.t^'couX'^^^^^^ ^° "*^* ^
AS YOU LIKE IT.
[Act III.
Jaq. \_A5ide\ I would fain see this meeting.
Aud. Well, the gods give us joy! 38
Touch. Amen. A man may, if he were of a fearful heart,
stagger in this attempt ; for here we have no temple but the
wood, no assembly but horn -beasts. But what though?
Courage! As horns are odious, they are necessary. It is
said, 'many a man knows no end of his goods': right: many
a mr -. has good horns, and knows no end of them. Well,
that is the dowry of his wife; 'tis none of his own getting.
Horns ? Even so. Poor men alone ? No, no ; the noblest
deer hath them as huge as the rascal. Is the single man
therefore blessed? No; as a walled town is more worthier
than a village, so is the forehead of a married man more
honourable than the bare brow of a bachelor; and by how
much defence is better than no skill, by so much is a horn
more precious than to want. Here comes Sir Oliver. 52
Enter SIR Oliver Martext.
Sir Oliver Martext, you are well met: will you dispatch us
here under this tree, or shall we go with you to your
chapel?
Sir OIL Is there none here to give the woman?
Touch. I will not take her on gift of any man.
Sir Oli. Truly, she must be given, or the marriage is not
lawful.
Proceed, proceed : I '11 give her. 60
Master What-ye-call 't ; how do
you, sir? You are very well met: God 'ild you for your last
company: I am very glad to see you: even a toy in hand
here, sir : nay, pray be covered.
Jaq. Will you be married, motley?
Touch. As the ox has his bow, sir, the horse his curb and
the falcon her bells, so man hath his desires ; and as pigeons
bill, so wedlock would be nibbling. 68
Ja^. And will you, being a man of your breeding, be
ma-ned under a bush like a beggar? Get you to church.
and have a good priest that can tell you what marriage is:
this fellow will but join you together as they join wainscot;
then one of you will prove a shrunk panel, and, like green
timber, warp, warp.
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.
/of. Go thou with me, and let me counsel thee. 79
/agr. [Advancing] Proceec
Touch. Good even, good
^'
Scene 4.]
AS YOU LIKE IT.
69
Touch. Come, sweet Audrey •
Farewell, good Master Oliver; not,—
O sweet Oliver,
O brave Oliver,
_ Leave me not behind thee:
Wind away.
Begone, I say,
1 will not to wedding with thee.
d come this morning,
ste2^r,IS'fo^ri?s%U;;^ r^i^I SoVnHir ^ '°'^"
C./. ' Was' i^ not « U^"^ ^^'T' downright he was.
-nger th^n "^^ ^^^^^^.^^ ^l^.
70
AS YOU LIKE IT.
[Act III.
firmer of false reckonings. He attends here in the forest on
the duke your father. 30
/ios. 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 as Orlando?
Cf/. O, that 's a brave man ! he writes brave verses, speaks
brave words, swears brave oaths and breaks them bravely,
cjuite traverse, athwart the heart of his lover; as a puisny
tilter, that spurs his horse but on one side, breaks his staff
like a noble goose : but all 's brave that youth mounts and
folly guides. Who comes here? 40
En/er CORIN.
CoK Mistress and master, you have oft inquired
After the shepherd that complain'd of love.
Who you saw sitting by me on the turf.
Praising the proud disdainful shepherdess
That was his mistress.
^^^ Well, and what of him?
Cor. If you will see a pageant truly play'd.
Between the pale complexion of true love
And the red glow of scorn and proud disdain,
Go hence a little and I shall conduct you,
If you will mark it.
^<'-f; O, come, let us remove :
The sight of lovers feedeth those in love.
Bring us to this sight, and you shall say
I '11 prove a busy actor in their play.
50
[^Exeunt,
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 not so
In bitterness. The common executioner.
Whose heart the accustom'd sight of death makes hard.
Falls not the axe upon the humbled neck
But first begs pardon ; will you sterner be
Than he that dies and lives by bloody drops?
Enter Rosalind, Celia, and Corin, behind.
Phe. I would not be thy executioner:
I fly thee, for I would not injure thee.
Thou tell'ot me there is murder in mine eye :
10
Scene 5.]
AS YOU LIKE IT
T is pretty, sure, and very probable
TTiat eyes, that are the frail'st and softest things
S°M^S the.": coward gates on atomies, ^ '
Should be call'd tyrants, butchers, murderers'
Now I do frown on thee with all my heart '
And If mine ey;es can wound, now let them kill thee-
Now counterfeit to swoon; why now fall down
Or If thou canst not, O, for shame, for shame '
Lie not to say mine eyes are murderers ' '
S-r^trl ?irA* r^l** '"•r^ ^y« I'a'h made in thee •
Scratch thee but with a pin, and there remain.: '
Some scar of it; lean u,^n a rush, "'
The cicatnce and capable impressure
Whi^rrK'^""! ""T^"* ^^^P^ •' but now mine eyes
Which I have darted at thee, hurt thee 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 fancv
Then sha 1 you know the wounds invisible ^'
That love's keen arrows make.
CoJ^e not thou near me: and wL"n t"a!'time Tomes
Affile me with thy mocks, pity me not • '
As till that time I shall no't^pityThee '
Ith^rf "*•'' ' P'^y >^°"- W»"> '"i^ht be your
That you insult, exult, and all at once
Why, what means this f Why do vou look on m» ? *°
I see no more in you than in fhfoZl^y *'" '"'•
UhTi" "^^-^^'^ 'Od's my little hfe,
NO, faith, proud mistress, hope not after it •
You^ buTelS'™"^' y°"^^'-^^^^^^^^
lour Dugie eyeballs, nor your cheek of rream
That can entame m^ spirits to your worshlo '
You foohsh shepherd, wherefore do7oufoFow her
lou are a thbusand times a properer man ^
Than she a woman : 't is sucS fo?ls Is yo"
71
20
30
7a
AS YOU LIKE IT.
[Act III.
is i
it 1
That makes the world full of ill-favoured children :
'Tis not her glass, but you, that flatters her;
And out of you she sees herself more proper
Than any of her lineaments can show her.
But mistress, know yourself: down on your knees.
And thank heaven, fasting, for a good man's love :
For I must tell you friendly in your ear,
Sell when you can : you are not for all markets : &
Cry the man mercy ; love him ; take his offer:
Foul is most foul, being foul to be a scoffer.
So take hjer to thee, shepherd : fare you well.
PAe. Sweet youth, I pray you, chide a year together:
1 had rather hear you chide than this man woo.
^os. 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 '11 sauce her with bitter words
Why look you so upon me.-*
PAe. For no ill will I bear you. jq
Ros. I pray you, do not fall in love with me.
For I am falser than vows made in wine :
Besides, I like you not. If you will know my house,
'T IS at the tuft of olives here hard by.
Will you go, sister.? Shepherd, ply her hard.
Come, sister. Shepherdess, look on him better,
And be not proud : though all the world could see
None could be so abused in sight as h*".
Come, to our flock {Exeunt Rosalind, Celia, and Corin.
iiiru , shepherd, now I find thy saw of might. 8o
Who ever loved that loved not at first sipht?'
Sil. Sweet Phebe,—
^J^f'c T... ,. . ^^' "'^** s^y'st thou, Silvius.?
iitL Sweet Phebe, pity me.
o^" ^^' ^ **" ^°"^ ^°'" ^^^^' S^entle Silvius.
iitl. 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 exter uned.
Phe. Thou hast my love: is not that neighbourly?
i>tl. I would have you.
c i^^^* XL • . ^^''y- '^^* ^■e'^e covetousness. oo
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.
Thy company, which erst was irksome to me,
I will endure, and I '11 employ thee too-
Scene 5.]
AS YOU LIKE IT.
1 10
But do not look for further recompense
v,7 %'nl^r ^i«'^"«sjhat thou art emplo/d
Si/ So holy and so perfect is my love.
And I in such a poverty of grace
That I shall think it a most plenteous crop
To glean the broken ears after the man
I cl . t'lr*'"-,''*'^^'* r^^P^' '°ose now and then
A scatter;d smile, and that I '11 live upon.
r^e. Know'st thou the youth that snnlr#. t« ^„ i.-, -,
A fi. 'i°^"l^ "e"' b"^ ' hive metTm oft ' "■""'^''*-
tI;..^L*'';5 ^^«^^* '^^ ^o^a^e and the bounds
D the old carlot once was master of
P/ie. Think not I love him, though I ask for him-
'Tis but a pepysh boy; yet he talk! wel! % v""'
But what care I for words? yet words do well
He IS not very tall; yet for his vears he's tall-
His leg IS but so so; and yet 't Is well
There was a pretty redness in his lip,'
Alittle nper and more lusty red
• 11 write to him a very taunt ne^ letter
I^Phebe, with all my heart.
rwinTV^?"' ■'^ ^y "^^ and in my hit'' '''^''''''
73
100
130
74
AS YOU LIKE IT.
[Act IV.
ACT IV.
Scene I. The forest.
Enter Rosalind, Celia, ami Jaqves.
/aq. I prithee, pretty youth, let me be better acquainted
Willi iflCc*
Ros. They say you are a melancholy fellow.
/aq. I am so; I do love it better than laughing.
Ros. Those that are in extremity of either are abominable
fellows and betray themselves to every modem censure worse
than drunkards.
Jaq. Why, 't is good to be sad and say nothing.
Ros. Why then, 't is good to be a post n
Jaq.l have neither the scholar^ melancholy, which is
emulation, nor the musician's, which is fantastical, nor the
courtier's, which is proud, nor the soldier's, which is am-
bitious, nor the lawyer's, which is politic, nor the lady's,
which IS nice, nor the lover's, which is all these: but it is a
melancholy of mine own, compounded of many simples, ex-
tracted from many objects, and indeed the sundry contem-
plation of my travels, in which my often rumination wraps
me in a most humorous sadness. ~ ig
Ros. A traveller! By my faith, you have great reason to
be sad: I fear you have sold your own lands to see other
mens; then, to have seen much and to have nothinj?, is to
have nch eyes and poor hands.
Jaq. Yes, I have gained my experience.
Ros. And your experience makes you sad: I had rather
Have a fool to make me merry than experience to make mf
sad; and to travel for it too!
Enter Orlando.
Orl. Good day and happiness, dear Rosalind!
Jaq. Nay, then, God be wi' you, an you talk in blank
verse. \Exit 20
Ros. 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 mak-
ing you that countenance you are, or I wiU scarce think you
have swam in a gondola. Why, how now, Orlando! where
have you been all this while? You a lover! An you serve
™%''i^ »f"? • *'' ^^^"^ "®^*'" *^°*"^ »" *"y sight more.
OH. My fair Rosalind, I come within an hour of my pro-
U115C* .0
Scene i.]
AS YOU Lll^E IT.
75
/ios. hreak an hour's promise in love! He that will diviH*
a minute into a thousand nart* anH k—oi; iT \ aivide
thousandth part of a m^ut^e^n the affl?r. nf? ^ ^"^ °^ '^«
Or/. Pardon me, dear Rosalind.
Ort Ofasnail?
i^«ni?L stadt' of W?,:ir" '"""^ '" "'= '<""""' »°''
S: Si L"°vt™KS^'J and .y Rosalind i, virtuous.
offt«?!«T.hJry^C '"" "'"' ^' •»" •■' ■-"■ - R""-"
h™:u,'i'3'iir™"s:ghTo?^is^°„7°^r 'v ■«"'•'''
Or/. How if the kiss be denied?
matter '''' P"'' y°" '° ^"^'-^^^J'' ^d there begins new
t^«. What, of my suit.?
nofr your°Ro"Sr 'P^"'' "^' ''' °"* "' y°- -t" Am
talSng if hen '°'"'' ^'°^ '° '^^ ^^^ ^'■*^' ^""«« ^ ^o' d be
S/ Si i^ ^J!"" P*''''^" ^ '*y ^ ^" "°t have you
jp inen in mine own person I die. «„
AusSl'i^rf o?/ tr ^^- n "^J-^ P"^'- ^-^^ - ^-°^
any man d^^H^hf k- ' *"*^ '" *" .*h's time there was not
any man died m his own person, videlicet, in a love-cause.
AS YOU LIKE IT.
[Act IV.
Troilus had his brains dashed out with a Grecian club; yet
he did what he could to die before, 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 midsummer night; for, good youth, he went but forth
to wash him in the Hellespont and being taken with the
cramp was drowned: and the foolish chroniclers of that age
found It was • Hero of Sestos'. But these are all lies: men
have died from time to time and worms have eaten them
but not for love. g,'
OrL I would not have my right Rosalind of this mind, for
I protest her frown might kill me.
Ros. By this hand, it will not kill a fly. But come, now I
will be your Rosalind in a more coming-on disposition, and
ask me what you will, I will grant it.
Orl. Then love me, Rosalind.
Ros. Yes, faith, will I, Fridays and Saturdays and all. too
Orl. And wilt thou have me?
Ros. Ay, and twenty such.
Orl. What sayest thou?
Ros. Are you not good?
Orl. I hope so.
Ros. Why, then, can one desire too much of a good thing?
Come, sister, you shall be the priest and marry us. Give me
your hand, Orlando. What do you say, sister?
Orl. Pray thee, marry us.
Cel. I cannot say the words. i lo
Ros. Yo- must begin, ' Will you, Orlando—'
Cel. Go to. Will you, Orlando, have to wife this Rosa-
und?
Orl. I will.
Ros. Ay, but when;
Orl. Why now; as fast as she can marry us.
Ros. Then you must say ' I take thee, Rosalind, for wife'.
Orl. I take thee, Rosalind, for wife.
^oj. I might ask you for your commission; but I do taice
thee, Orlando, for my husband : there 's a girl goes before
the priest; and certainly a woman's thought runs before her
actions. ,22
Orl. So do all thoughts; they are winged.
Ros. Now tell me how long you would have her after you
have possessed her.
Orl. For ever and a day.
Ros. Say 'a day', without the 'ever'. No, no, Orlando;
men are Apnl when they woo, December when they wed:
Scent I.]
AS VOU LIKE IT.
77
maids are May when they are maids, but the sky changes
when they are wives. I will be more jealous of thee than a
Barbary cock-pigeon over his hen, more clamorous than a
parrot against ram, more new-fangled than an ape, more
giddy in my desires than a monkey: I will weep for nothing.
Fike Diana in the fountain, and I will do that when you are
f^r^-^rt.T.:r:Llr'' '^"«^>» '^^ - »>>-. -^ thit when
thou art inclined to sleep.
Or/. But will my Rosaline' lo so?
Ros. By my life, she w'' i > . , I do.
Or/. O, but she is v/^'.^.
Ros. Or else she co "d t ; .,v '.,
wiser, the waywarder: i 'akc .he Johs
and it will out at t!.<
■'.•■>
V ,. ii; ■\-
the key-hole ; stop
chimney.
Or/. A man thru [.•u^ j ,,,
'Wit, whither wil' '
Ros. Nay, you M\g'.* k ep
your wife's wit going yo o. '
Or/. And what wit coild
Ros. Marry, to say she ' ■>
never take her without her
vie'}
I. .a'
'36
Mo do this: the
1 a woman's wit
. nd 't will out at
toke out at the
..1
■;\'l
'it, he might say
146
wiat ibeck tor it till you met
L- ,,hb..-ir'>; bed.
ha\ ' e cuse that?
> > seek v'ou there. You shall
^3 you take her with-
. 1 , r.r.
I .
out her tongue. O, that woman that' canno7make her fault
her husband s occasion, let her never nurse her child herself.
for she will breed it like a fool! '
Or/. For these two hours, Rosalind, I will leave thee.
Ros. Alas! dear love, I cannot lack thee two hours. ic6
Or/. I must attend the duke at dinner: by two o'clock I
will be with thee again. 7 i " *i i.iutK i
wn^w ..^^' ^'° ^°V- "^^y^' ^? y°"'' '^*ys! I l«n«w what you
l^f tiSlL"!^^- ^"^"'^^ '°'^ .""^ *' •""'^^' ^d ^ thought no
less that flattering tongue of yours won me: 'tis but one
cast away, and so, come, death! Two o'clock is your hour?
Or/. Ay, sweet Rosalind. ' ,6,
Ros. By my troth, and in good earnest, and so God mend
hL^ ^ *" P''^"y °^^^^ *^^t are not dangerous, if you
vnf,tK°"® r^„ r'i'' P^'omise or come one mii e behind
your hour, f will think you the most pathetical bre promise
f"„ ?® "\°^\ ^°"°* ^o^^"" ^^ the most unworthy of her you
»hJ Rosalind that may be chosen out of the gross band of
prorse*" ^ ^^ ^'^ ^^^^"^ "^y ""'"'■^ ^^ keep your
78
AS YOU LIKE IT.
[Act IV.
n«£^*. 'j^™t" ** °'^ ;"'*'<^« that examines all such
offender, and let Time try: acfieu. \Exit Orlant
v.^^:Jl *'"' simply misused our sex in your love-prate^
IL cK ^^u y°"^*i>"blet and hose plucked over your head
and^show the world what the bird hath done to her omi
Hos. O coz, co^ coz, my pretty little coz, that thou didst
know how many fathom deep I Li in lovel But it canno
tiont.h'^.Ss o'it'°"°'^'''' '^' "^ '''' ^ y°" ?*>"•■ ^«''
/?w. No^ that same wicked bastard of Venus that was
ttft h?nH*°"^^^• T"'^'* °f ^P^^*^" ^d bom of madnS
that blmd rascally boy that abuses every one's eyes because
ri Xh"^ aT '" f™ •^ J!!^^^ ^°* d««P I ^ in love
' In finH ' J'!,"^ ^ *'^"'?°J '^ °"t of *e Sight of Oriando:
I 11 go find a shadow and sigh till he come.
C./. And I '11 sleep. [^^^^^,
Scene II. The forest.
Entfr Jaques, Lords, and Foresters.
Jaq. Which is he that killed the deer?
A Lord. Sir, it was I.
Jaq. Let 's present him to the duke, like a Roman con-
T^^n^^^ would do well to set the deer's horns uj^nSs
IbrlisVrp^S?*^' °' ^'"°'^- "^^^ >^- - -"^> f-ester:
For. Yes, sir.
noiTen^oufhi^^ ''"' "° •"""" '^°" " '^ '" »""«' ^° >» '"^'^e
Song.
What shall he have that kill'd the deer? lo
His leather skm and horns to wear.
Then sing him home;
lake thou no scorn to wear the horn;
It was a crest ere thou was bom:
Thy father's father wore it.
_. . ^"^ ^^y 'ather bore it:
1 he horn, the horn, the lusty hom
Is not a thing to laugh to scorn. [Exeunt.
For.
79
lo
Scenes.] AS YOU LIKE IT.
Scene III. The forest.
Enter Rosalind and Celia.
he« mu?h OrSff "°"' '^ " "°^ ^' ^- °'<^'-k? and
J/. I warrant you, with pure love and troubled brain he
hath ta'en h.s bow and arrows and is gone fS-to Sleen
Look, who comes here. '®*P-
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
,1^- ^ stern brow and waspish action
Which she did use as she was writing of it.
It bears an angry tenour: pardon me:
1 am but as a guiltless messenger
Ros. Patience herself would startle at this letter
Aiid play the swaggerer; bear this, bear aJ^
She says I am not fair, that I lack mannersj
She calls me proud, and that she could not ove 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, well
This IS a letter of your own device '
Ptdii ?^' ' P/°-^^*' ^ ""^^ "ot '^e contents:
rnebe did write it.
AiS^ti-r^'^ • . .V ^°'"®' F*""^' y°" are a fool
And tum'd mto the extremity of love
I saw her hand: she has a leathern hand,
Th^S nw" °"''*' ^*"**' ^ ^*^"Jy did think
qJL K °i** ^'°7^^ *«™ o"' but 't was her hands-
She has a huswife's hand; but that 's no mauS
Isay she never did invent this letter;
This is a man's invention and his hand.
Stl. Sure, It IS hers.
Ros. Why, 't is a boisterous and a cruel stvle
Lik'xurk to^^S"^^^^' "^y' ^^-« defieTm^ '
Like Turk to Christian- women's gentle brain
Suet Ethiot°P ^°!1^ such giant-nfde !„veS.
Than in^h?* *°'''^'' ^'*^''*'' '" ^^^ir effect '
W \ ''."■ countenance. Will you hear the letter?
viL^ ?**''' y?"' ^o*- ^ never heard it yet;
Yet heard too much of Phebe's cruelty
20
T
So
AS YOU LIKE IT.
[Act IV.
40
Hos. She Phebes me: mark how the tyrant writes.
Art thou god to shepherd tum'd,
That a maiden's heart hath bum'd?
Can a woman rail thus?
St7. Call you this railing?
/ios. [/leads]
^^y» 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.
Meaning me a beast.
If the scorn of your bright eyne 50
Have power to raise such love in mine,
Alack, in me what strange effect
Would they work in mild aspect!
Whiles you chid me, I did love;
How then might your prayers move!
He that brings this love to thee
Little knows this love in me:
And by him seal up thy mind;
Whether that thy youth and kind
Will the faithful offer take 60
Of me and all that I can make;
Or else by him my love deny.
And then I '11 study how to die.
St7. Call you this chiding?
Ce/. Alas, poor shepherd!
Hos. 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 thec:! not to be endured! Well, go
your way to her, for I see lo/e hath made thee a tame snake,
and say this to her; that if she love me, 1 charge her to love
thee; if she will not, I will never have her unless thou entreat
for her. If you be a true iover, hence, and not a word; for
here comes more company. [Ex$7 Silvius. 73
Enter Oliver.
Oh. Good-morrow, fair ones: pray you, if you know,
Where^ the purlieus of this forest stands
A sheep-cot^ fenced about with olive trees?
Cel. West of this place, down in the neighbour bottom:
The rank of osiers by the murmuring stream
i
Scene 3.]
AS YOU LIKE IT.
Left on your right hand brings you to the olace
But at this hour the house dJth keep itse7 '
^here's none within. ^ '
OH. If that an eye may profit by a tonime
Then should I know you by descrfptionT
Such garments and such years : ' The boy is fair
Of female favour, and bestows himself ^ '
Like a npe sister: the woman low
And browner than her brother.' Are not you
The owner of the house I did enquire for?
Ce It IS no boast, being ask'd, to say we are
A„Hl?K'f '^^ 1°l^ commend him to you both
S; JnH H ^T^ 5^ ^^"^ ^'^ Rosalind^ '
This handkercher was stain'd
\Vithin an hour, and pacing through the forest
Chewing the food of sweet and bitfer fancy ^
Lo, what befel! he threw his eye aside ^'
And mark what object did present self :
PS^h «- J^^^^^^^^ -th age
Agreen and gilded snake had writhed itself
Who with her head nimble in threats aDDro.rh'H
The opening of his mouth ; but suddenl?
Seeing Orlando, it unlink'd itself, ^'
tt T^ l"*^^"*5^ 8'ides did slip away
In a bush: under which bush's shade
^,;°"«\.with udders all dravm d^^
feThat'J&'^f^^ ?" ^•■°""^' with catlike watch
i Thp^ ^"f *« sleeping man should stir • for 't U
I The royal disposition of that beast '
I TSi??e'en"orii!;'H^'^f' ^""'^ ^^^"^ ^ dead:
inis seen, Orlando did approach the man
irS^AT.^' 5T^^^' ^'^ eJ^el^Sother.
' (M7)
81
80
90
100
no
82
AS YOU LIKE IT. [Act IV. Sc. 3.
OH. And well he might so do,
For well I know he was unnatural.
Ros. But, to Orlando : did he leave him there,
Food to the suck'd and hungry lioness?
Oli. Twice did he turn his back and purposed so;
But kindness, nobler ever than revenge.
And nature, stronger than his just occasion.
Made him give battle to the lioness.
Who quickly fell before him ; in which hurtling 130
From miserable slumber I awaked.
Cel. Are you his brother?
Ros. Was 't you he rescued ?
Cel. Was't you that did so oft contrive to kill him?
Oli. 'T was I ; but 't is not I : I do not shame
To tell you what I was, since my conversion
So sweetly tastes, being the thing I am.
Ros. But, for the bloody napkin?
Oli. By and by.
When from the first to last betwixt us two
Tears our recountments had most kindly bathed.
As how 1 came into that desert place : — 140
In brief, he led me to the gentle duke.
Who gave me fresh array and entertainment,
Committing me unto my brother's love ;
Who led me instantly unto his cave.
There stripp'd himself, and here upon his arm
The lioness had torn some flesh away,
Which all this while had bled ; and now he fainted
And cried, in fainting, upon Rosalind.
Brief, I recover'd him, bound up his wound ;
And, after some small space, being strong at heart, 150
He sent me hither, stranger as I am.
To tell this story, that you might excuse
His broken promise, and to give this napkin
Dyed in his blood unto the shepherd youth
That he in sport doth call his Rosalind. [Rosalind swoons.
Cel. Why, how now, Gan>TTiede ! sweet Ganymede !
Oli. Many will swoon when they do look on blood.
Cel. There is more in it. Cousin Ganymede !
Oli. Look, he recovers.
Ros. I would I were at home.
Cel. We '11 lead you thither. 160
I pray you, will you take him by the arm?
Oli. Be of good cheer, youth : you a man ! you lack a
man's heart,
Act V. 8c. I.] AS YOU LIKE IT. ,-
.hif iai tn'cLl^^:^, ?'p^7tou^ ^y -"'d think
how well I counterfeited. HeighK ^ ' ^°"'' ^™*'*"
^^f- ,9?™'"*«. I assure you. "raest.
^0/i. Well, d,e„, ,ak, a g<»,d hear, and coumerfei, ,„ bil
nir ^° ' """^ ""•• ''"^'"^ ' '"">»'<' hav. been a woman by
ho|wa^r'a'st.o^:^J,-^ P-": pray you. d^w
n,ytu„\:aSr;rhfr »yo^"^„', P-V fg^o™nend
ACT V.
Scene I. TAe forest.
Enter Touchstone ««"« '" the forest
thetild'':^ire"come?the'min'' ^'^^ "° ""^^"^'t '" ">« '"
iiu . iicrc comes tne man you mean
Enter William.
^^ill. Good even, Audrey.
AMd God ye good even, William.
yy 111. And good even to you, sir.
18
f
n
84
AS YOU LIKE IT.
[Act V.
WW. Five and twenty, sir.
ToucA. A ripe age. Is thy name William?
IVm. William, sir.
ToucA. A fair name. Wast bom i' the forest here?
tViU. Ay, sir, I thank God.
ToucA. 'Thank God'; a good answer. Art rich?
JVi'U. Faith, sir, so so.
ToucA. 'So so' is good, very good, very excellent good;
and yet it is not ; it is but so so. Art thou wise?
Will. Ay, sir, I have a pretty wit. 28
ToucA. Why, thou sayest well. I do now remember a
saying, 'The fool doth think he is wise, but the wise man
knows himself to be a fool'. The heathen philosopher, when
he had a desire to eat a grape, would open his lips when he
put it into his mouth; meaning thereby that grapes were
made to eat and lips to open. You do love this maid?
Will. I do, sir.
ToucA. Give me your hand. Art thou learned?
Will. No, sir. 37
ToucA. Then learn this of me : to have, is to have ; for it is
a figure in rhetoric that drink, being poured out of a cup into
a glass, by filling the one doth empty the other; for all your
writers do consent that ipse is he : now, you are not ipse, for
I am he.
Will. Which he, sir? 43
ToucA. He, sir, that must marry this woman. Therefore,
you clown, abandon,— which is in the vulgar leave,— the
society,— which in the boorish is company, — of this female —
which in the common is woman ; which together is, abandon
the society of this female, or, clown, thou perishest ; or, to
thy better understanding, diest ; or, to wit, I kill thee, make
thee away, translate thy life into death, thy liberty into
bondage : I will deal in poison with thee, or in bastinado, or
m steel ; I will bandy with thee in faction ; I will o'er-run
thee with policy; I will kill thee a hundred and fifty ways:
therefore tremble, and depart. 54
Aud. Do, good William.
Will. God rest you merry, sir. \Exit.
Enter CORIN.
Cor. Our master and mistress seeks you; come, away,
away!
ToucA. Trip, Audrey ! trip, Audrey ! I attend, I attend.
\jExeunt,
Scenes.] aS YOU LIKE IT.
Scene II. The forest.
85
Enter Orlando and Oliver
sudden consenting; but saTwfth me Mnv^ a^° '"^' """■ '^^
her that she loves me; cSLnt wiTh both th^^ "* ' '^^ ^"^^
each other: it shall b^ to your eood for ^ ?'f^'"ay enjoy
and all the revenue that wL ol/??r p 1 ^^/^^'^f/^ h°"se
u,»n vou. and here Iiv\^UTdril t pt^^^"^'^ ^'" ' ^^'f
mo?S.T?hithrw7lTnvi:e"'ih ^^^y°- -adding be t"
followers. Go yo^ld DreDare A?^ """^^ ?"'f ^""^^nted
comes my Rosind ^^ ^ '^^'^"^' ^°'' ^"^^ y^". here
^w/'t'r Rosalind.
Ros. God save you, brother.
Oh. And you, fair sister. r „ .,
Or/. It is my arm.
of Sbn. ''^°"^^^ '^y ^«^« h^d been wounded with the claws
tl: S""*^«<* »t is, but with the eyes of a lady
^^c" ^'^^ ^'■^^l^'' wonders than that. ,<
'^''J- O, I know where you are • nav 't is tr,.^ • fi,
never any thing so sudden but the Eh J «f?^ ^^^""^ "^^s
Cesar's thrasonical brag of M came saw Jh" '"^^ ^".^
for vour hrnfh»r ,« J _ • *-*"'e> saw, and overcame ' •
sai.5 to n^aV which Tv iTH^K'*^ '"*"'? " P"''' °f
86
AS YOU LIKE IT.
[Act V.
I i
i
into happiness through another man's eyes I 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.
Hos. Why then, to-morrow I cannot serve your turn for
Rosalind?
Or/. I can live no longer by thinking. 46
^os. I will weary you then no longer with idle talking.
Know of me then, for now I speak to some purpose, that 1
Imow you are a gentleman of good conceit : I speak not this
that you should bear a good opinion of my knowledge, inso-
much I say I know you are ; neither do I labour for a greater
esteem than may in some little measure draw a belief from
you, to do yourself good and not to grace me. Believe then,
if you please, that I can do strange things : I have, since I
was three year old, conversed with a magician, most profound
m his art and yet not damnable. If you do love Rosalind so
near the heart as your gesture cries it out, when your brother
marries Aliena, shall you marry her: I know into what
straits of fortune she is driven ; and it is not impossible to
me, if it appear not inconvenient to you, to set her before
your eyes to-morrow human as she is and without any danger.
Or/. Sp>eakest thou in sober meanings? 62
/tot. By my life, I do; which I tender dearly, though I
say I am a magician. Therefore, put you in your best array;
bid your friends ; for if you will be married to-morrow, you
shall, and to Rosalind, if you will.
En/er SiLVius and Phfbe.
Look, here comes a lover of mine and a lover of hers.
PAg. Youth, you have done me much ungentleness,
To show the letter that I writ to you.
Jios. I care not if I have : it is my study
To seem despiteful and ungentle to you :
You are there followed by a faithful shepherd ;
Look upon him, love him ; he worships you.
PAe. Good shepherd, tell this youth what 't is to love.
Si/. It is to be all made of sighs and tears ;
And so am I for Phebe.
PAe. And I for Ganymede.
Or/. And I for Rosalind.
Pos. And 1 for no woman.
Si7. It is to be all made of faith and service •
And so am I for Phebe.
PAe. And I for Ganymede.
70
80
Seta* 3.]
AS YOU LIKE IT.
on. And I for Rosalind
Ros. And I for no woman
Sil. It is to be all made of fantasy,
A made of passion and all made of ivishes
^ adoration, duty, and observance,
All humbleness all patience and impatience
All punty, all trial, all tobscrvance : '
And so am I for Phebe.
Phe. And so am I for Ganymede. ^
on. And so am I for Rosalind.
hos. And so am 1 for no woman.
Sil' If thu'h^ '°' T^y blame you me to love you?
Orl If thU h.'°' "^^^ ^If""^ y°" >"« to love you"
Rn: wr li^* ^°' "^^y ^^^"i* yo" ^e to love you?
^Ros. Why do you speak too. 'Why blame you' me to love
Orl. To her that is not here, nor doth not hear n«
meet mc all together FT/, p*/i i n '°- To-morrow
riS 'S^oS- ' U^ir!'^"?," "^^ "«' ^™»^^' l2 marl
Stl. I'll not fail, if I live. "°
/'>»ft Nor I.
Or/. Nor I.
[Exeunt.
Scene III. The forest.
Enter TOUCHSTONE a«'e» our compact is uwi^
\ ou say, if I bnng in your Rosalind, ^ "'^***
You will bestow her on Orlando heri?
^ A J ** would I, had I kingdoms to eive with h^
>P^j But If you do refuse to marry me.
'""pI 's^'isTti^i^ «"- ^^^^^"' «^«PHerd?
fS'' 1^°" 't^' ^'i** y°" '" ^'ave Phebe, if she will?
Keep your word, Phebe, that you 'il ma^rry me ^
Or else refusmg me, to wed this shepherd '
Methought he w^ a brother to your dIugSer
Jnrf' r,^K*^2!? '*"'^' '^'» ^y >s forest-Sn?
And hath been tutored in the rudiments ' ^
Of many desperate studies by his uncle,
Whom he reports to be a great ma?ici^
Obscured in the circle of tSis forest '
Enter TOUCHSTONE ««// AUDREY.
^r.lo2^V\^\^:ir%':rl^ toward, and these couples
'^?J:^4f '"'-^"^ ?,P- o^ very strange
/^ r^"*^*',°" ?"** greeting to you all!
mfeg^Uerai^ttt'^i^h!;''" ^'''h' '"^^ '' ^^raoXX^y-
hath beef a cS?he swe\7s." °'^" "^^^ '" *^« ^°-* ^ ^«
tion I hav.'ilL'"^ **°"^' ^^*»' J«t him put me to my pur«-
lO
MICROCOPY RESOIUTION TEST CHART
(ANSI and ISO TEST CHART No. 2)
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Rochester, New York U609 USA
(716) 482 - 0300 - Phone
(716; 288 ~ 5989 - Fax
I !i
'< ■:■§■
I B
I
i ;
90
AS YOU LIKE IT.
lAct V.
undone three tailors ; I have had four quarrels, and like to
have fought one.
/of. And how was that ta'en up?
ToucA. Faith, we met, and found the quarrel was upon the
seventh cause.
/ag. How seventh cause.? Good my lord, like this fellow.
Duke S. I like him very well. 5'
Touc/t. God 'ild you, sir ; I desire you of the like. I press
in here, sir, amongst the rest of the country copulatives, to
swear and to forswear; according as marriage binds and
blood breaks: a poor virgin, sir, an ill-favoured thing, sir,
but mine own ; a poor humour of mine, sir, to take that that
no man else will : rich honesty dwells like a miser, sir, in a
poor house ; as your pearl in your foul oyster.
Duke S. By my faith, he is very swift and sententious.
ToucA. According to the fool's bolt, sir, and such dulcet
diseases. 61
/of. But, for the seventh cause; how did you 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 his
beard was not cut well, he was in the mind it was : this is
called the Retort Courteous. If I sent him word again ' it
was not well cut', he would send me word, he cut it to please
himself: this is called the Quip Modest. If a^ain '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 again ' it was not well cut ', he would say I lied : this is
called the Countercheck Quarrelsome: and so to the Lie
Circumstantial and the Lie Direct 76
Jaq. And how often did you say his beard was not well cut?
Touch. I durst go no further than the Lie Circumstantial,
nor he durst not give me the Lie Direct ; and so we measured
swords and parted. .80
Jaq. Can you nominate in order now the degrees of the lie?
Touch. O, sir, we quarrel in print, by the book; as you
have books for good manners : I will name you the degrees.
The first, the Retort Courteous ; the second, the Quip Modest;
the third, the Reply Churlish ; the fourth, the Reproof Valiant;
the fifth, the Countercheck Quarrelsome ; the sixth, the Lie
with Circumstance ; the seventh, the Lie Direct. All these
you may avoid but the Lie Direct ; and you may avoid that
too, with an If. I knew when seven justices could not take
Scene 4.]
AS YOU LIKE IT.
100
so'; and ihey shook haSds.nH'"''"!'^^ S". Aen I said
anting S ^iVf^' '■'"°"' ""' '"""^ "-'^ - .-""l «
U.f;:^^.«"iL"S'«^? ^&]^^^^ -d under
w£'«/^r Hymen, Rosalind, and Celia.
SHU Music.
Hym. Then is there mirth in heaven,
When earthly things made even
Atone together.
Good duke, receive thy daughter:
Hymen from heaven brought her
Yea, brought her hither,
That thou m.glitst join her hand with his
Ros \To JS%* heart within her bosom is.
mOrhTT^^ 7°y°" ^ ^'^^ '"yself, for I am yours
Why then, my love adieu !
I ,i??"^" ^ '" ***^« "o father, if you be not he •
I'll have no husband, if y^iu b^e Sot he : '
Nor neer wed woman, if you be not she.
Hym. Peace, ho! I bar confusion:
T IS I must make conclusion
Of these most strange events :
Here's eight that must take hands
lo jom m Hymen's bands,
If truth holds true contents.
You and you no cross shall part:
You and you are heart in heart:
You to his love must accord,
Ur have a woman to your lord •
YOU and you are sure together.
As the winter to foul weather.
Whiles a wedlock hymn we sing.
Feed yourselves with questioning;
i tiat reason wonder may diminish,
How thus we met, and these things finish. 130
no
120
AS YOU LIKE IT.
Act V.
\i\ k
Song.
Wedding is great Juno's crown :
O blessed bond of board and bed !
'T is Hytnen peoples every town ;
High wedlock then be honoured :
Honour, high honour and renown,
To Hymen, god of every town 1
Duke S. O my dear niece, welcome thou art to me !
Even daughter, welcome in no less degree.
PAe. I will not eat my word, now thou art mine;
Thy faith my fancy to thee doth combine. 140
En/er Jaques de Boys.
/a^. de B. Let me have audience for a word or two :
I am the second son of old Sir Rowland,
That bring these tidings to this fair assembly.
Duke Frederick, hearing how that every day
Men of great worth resorted to this forest,
Address'd 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 :
Where meeting with an old religious man, 150
After some (question with him, was converted
Both from his enterprise and from the world,
His crown bequeathing to his banish'd brother.
And all their lands restored to them again
That were with him exiled. This to be true,
I do engage my life.
Duke S. Welcome, young man ;
Thou offer'st fairly to thy brothers' wedding,
To one his lands withheld, and to the other
A land itself at large, a potent dukedom.
First, in this forest let us do those ends 160
That here were well begun and well begot :
And after, every of this happy number
That have endured shrewd days and nights with us
Shall share the good of our returned fortune.
According to the measure of their states.
Meantime, forget this new-fall'n dignity
And fall into our rustic revelry.-
Play, music. And you, brides and bridegrooms all.
With measure heap'd in joy, to the measures fall.
/ag. Sir, by your patience. If I heard you rightly, 170
Scene 4.]
AS YOU LIKE IT.
93
The duke hath put on a religious life
/l;'2^. nt h"att'' *'^ P*""P°"^ ^°"^
M- To him will I : out of these convertites
r r. J 'i i"'v''^ '"*"^'' ^° b« heard and leam'd
V^J"3 ^°" 'V"""" ^°'''"" honour I bequeath-
X2"'J'f'"?ce and your virtue well deserves it
jt n? V ,^° * ^"""f *¥* y^""" t™e faith doth merit-
XS^^'fe' ^^?" ^°'" ^^"^'"^' measures^ ^ ^' '
/^«*.? 6. Stay, Jaques, stay.
I >ttL Tf f ^ "° P*^*'*"^ ^ = *hat you would have
iSj ? S"""" ^i y^""" ^bandon'd cave. r^^^y
fJ»keS Proceed, proceed: we will begin these rites
As we do trust they'll end, in true delighfs [A dance.
Epilogue.
Ros. It is not the fashion to see the lady the eoilotrue - h„t
t IS no more unhandsome than to see the lord thSo^ni
If It be true that good wine needs no bush 'tis tnfethf.o
NOTES.
1
i *
i
i
I
I
[In the notes, Abb. refers to Dr. Abbott's Shakespearian Grammar:
Kellner to L. Kellner's Historical Outlines of English Syntax:
Matzner to Eduard Matiner's Englische Grammatik. Abbott and
Kellner are referred to by sections, Matzner by pages. O.E. =01d
English: M.E. = Middle English: E.E. = Elizabethan English: Md.
E. = Modern English : F I = First Folio : F 2 - Second Folio : Ff.=
Folios.]
The Title. The name As You Like It was doubtless suggested
by 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 ". Its significance is suf-
ficiently plain from the epilc^e: " I charge you, O women, for the
love you bear to men, to like as much of this play as please you: and
I charge you, O men, for the love you bear to women... that between
you and the women the play may please ". It is merely a playful
challenge to the audience.
Dramatis Personse. Jaques. Is 'Jaq.'es' a monosyllable or
a disyllabic? The answer depends upon another question, * Is the
name French or English?' As an English name it was common
in Shakespeare's native county of Warwick, and was pronounced
and even written 'Jakes'. But in the only two places in this play
where the metre is a guide we require a disyllable. These are
ii. I. 26— "The melancholy Ja-ques grieves at that", and v. 4. 200,
" Stay, Ja-ques, stay". Now, if the name is French, Shakespeare
would sound the final «, as he does in ParoUes. And there can be
no reasonable objection to a French name in a play which already
includes Amiens, Dennis, and Le Beau.
The names Oliver and Orlando are firom the legends of Charle-
magne, and their use may have been suggested by Lodge's reference
to the •* twelve peers" of France. Orlando is an Italian form of
Rowland. Silvtus and Phebe, the ;dyllic characters, have conven-
tional Latin names; William anc Audrey^ the comic rustics, are
plain English. Corin stands half-way between them, and his name
is a homely form of Virgil's Corydon. Touchstone explains itself.
Rosalind (Spanish= ' rose-sweet') is a favourite name in the litera-
ture of the period. Shakespeare has uken it, in this instance, from
Lodge; but he has a Rosaline in Love's Labour's Lost, and another
in Romeo and Juliet; and the name occurs also in Spenser, and Iq
Migrston.
M
i:
ii
Scene z.]
NOTES.
Act I — Scene I.
9S
It u the first care of every story-teller to let us know where we are
The novehst can do this directly, by means of description Sid m?S
Uon; but such a course is not open to the dramatist Swathe
■Tf^w'' °*" *{J-- xi^^"*y '"^«J "^ a Prologue. UkeQuiice
m .4 Mtdiummer-Nighfs Dream-. ^ V"»"ce
" T^ J"*" *^ Pyramus, if you would know;
This beauteous lady Thisby is certain ".
?™etimes content to secure these objects oTe^;t a t?me-
then the explanatory scene is merely a veiled, or represent^ mo'
}ou Like It Orlando's opening speech is of the nature of a renw
sented prologue; yet so kx starts the action, as it Sv^ him w£^
for the quarrel that follows. The action hus fairiyltaSd T
Se sc'ene'P'"""''"'" "'^"^'^ "«= ^iven incidentall"[7th??ou1U o5
thl°fe?hS wilT'^ U^rT^^X ''*"''*'°" •\"~**'^ ^y ^he lerms of
ineir lamer s wiil. Here Shakespeare m ght have followed Lodir^
and put before us the old knighf s deathT^d and hS t^stamlm^
depc^itions. But such a scene would be too remote i^ tl^SH
too little interest in itself By making Orlando pour out™s'wTon«
to Adam he secures another advantage We see not nnl J w fl" ^
stand between the brothers, but alsSnd thJfs ^LlKZtS^
the temper in which Orlando takes his situation '^"*"y ""P°''a°»—
• cfl """^ enlightened about the hero. The entry of Charles
gives Shakespeare the chance of showing a little mor? o?hi amvaT
g^ts'S"^"Lfe; a°n^n'' ^''^-^« "^ the hlle^X";
ic fi.n t'l\^""e'. ana m a senes of casual questions (for his mind
IS fUU of his recent discomfiture) asks the news at court Bv t^.
rn^s we learn that the old duk J has been SshS by his bf^the '
and now Ijves an exile in Arden; while his daughter RoSind uw
on at court with her dear cousin. Oliver and Charles then conS
their plot, and prepare us for the wrestling scene.
"m^v^olV'u '" J » '^""'^ ^^ ™"*t t'^'^e " it was bequeathed » and
(It WM) charged" impersonally=«a thousand crowns were hL
Ittf '^"'^ '^^. '""y '^^tLr was chSged'. But*' t%^
charged my brother" b very harsh for 'my brother wi chaJ^ed^
and there IS nothing to which we can refer "his bSne" The
It U ^m^^^^l:l ■ . T^^ ****'y *>*^e been overlooked before 6e
It IS impossible to understand a subject to bequeathed- v^ i ci U
not^^real parallel, for there a subject^ has bee^xPed-tto fii«
\
r
96
AS YOU LIKE IT.
[Act I.
1\
2, but poor a thousand crowns. On the analogy of so + adj.
+article, we sometimes find a placed between the adjective and the
noun, even when the former is qualified by other adverbs than so,
e.g. by but in this case. (Kellner, § 462. ) Cf. " With more tame a
tongue", Aleasure for Measure, ii. 2. 46. This condition is most
important for understanding Oliver's character. See Introduction III.
3. on his blessing, on pain of losing his blessing.
5. school: in Shakespeare = any place of instruction: here, a
university. We still speak of a ' school of medicine '.
XI. riders dearly hired: supply 'are'.
15. his countenance, his deportment towards me. Walker thinks
that the word is here used for ' allowance ', ' maintenance '. But this
sense of countenance is confined to legal writers. See Glossary.
16. bars me the place, debars me from the position. The pre-
position is often omitted after verbs of ' ablation .
17. mines my gentility, undermines my gentle birth. It is
characterbtic of Orlando, that what he feels most is the neglect of his
education.
35. what make you here ? Oliver simply means ' what are you
doing here 7' Orlando plays on the word in the sense of ' produce '.
a8. Marry keeps up the punning. As an expletive it means
' By (the Virgin) Mary'.
30. be naught awhile. This form of words was common, as a
petty malediction, like ' and be hanged to you '. But Oliver also
plays on the literal meaning — ' Better be nothing than be marring
yourself.
3a. What prodigal portion have I spent, what portion have I
spent like a prodigal. The word which should qualify the action is
transferred by anticipation to the object. This proleptic use of the
adjective, as it is called [Gk. ir/>6Xi;^tt = anticipation], is common in
Shakespea/e. The reference is to the parable of the Prodigal Son,
Luke XV. [Schmidt thinks prodigal simply = ' ample '. But the
obvious reference to the parable makes this unlikely.]
37. him I am before. Him for he is fairly common after than
and as. Here it may be due to attraction to whom understood.
38-64. Throughout this dialogue, observe that Orlando is insisting
not so much on his claims as a brother as on his rights as a gentleman.
38. I know you are my eldest brother. Both words are em-
phatic. ' Remember that though younger I am still your brother '.
38. in the gentle condition of blood, as becomes well-born
brothers. GentU, as often, connotes good birth: for blood in the
sense of relationship, see ii. 3. 37.
Scene t.]
NOTES.
41. tradition, customary usage.
43. nearer to his reverence • thi> r * .v
gives you more claim to the respect due to him ^'''" "^ "'^ ^^^"
45. 46- With the words "W at hn«t» r>i: . ..
who. stung by the taunt and the £! °.'"'" Jtnkes at Orlando,
Themeanlg^f ..yourrU^';oungrthh^^^^ '/ '''\''''«''
sage m Lodge by which it wa/cZi "^""w .." '=^?'"i ^""^ the pas
5«lillS~3a--*
[>as-
dest
least experienced)
by birth ".says „. ,
to perform any martial exploits "
X^Sr^j---sUsS-^. a^^ -^»
name. 'Si'iV^'^i 'i"t? |'h S''""'"' ''"" P'^^ - "is own
feeling express itself in bitin/Je'sts'^"' °^''" "'*''« '"ten«j
miUo.?:' ''°" ''*^"'* "•"•'"brance. for the sake of your father's
.v.i «i,u aiBiiiaonea ' (n. i. 50) •
sanctified and holy" (ii. ^ J,(' ThisTj^j" ';"*""'!'"" ^"- 2- ^oj;
M.E.. when French and EnJllh eSt^H ."5 of tautology dates from
lish term was needed to par! Dhrase th^ p'^'' ^l ''t' *"*^ '^^ ^ng-
".ay be 'obscuring (in mefa A?d?ng from'me ' " ^' ^'* "^^"'^
63. allottery. share. See Glossary
regularly ^<,«. (Abb. §§231, 232 ) <^ontempt, the pronoun is
veJu4^°£'o°nrm.^Se%:^^^^^^^^
comfiture. -^"ani, wnose fault is to have witnessed his dis-
« we^^T;t"P°" The ZZ^ "P°° ™^ 'P"* °"' yo"' horns',
luxuriant powS^in^fencTTnO," ^^j'^^^^ i" rankness. ,-.,
that to give UD the t^r!,^ . " ^'"""^ ^^''^"^'^ it should be noted
( M 7 ) ° >-<-".
O
98
AS YOU LIKE IT.
[Act I.
1
75. no... neither: in early English two or more negatives may
be used, simply to strengthen the negation.
8a. Again it should be noted in extenuation that Oliver acts in a
passion. The chance of revenge flashes upon him, and, in Shake-
speare's own words, '• the sight of means to do ill deeds makes ill
dieeds done "• In Lodge, the brothers continue some time in amity,
and the plot is concerted in cold blood.
83. to-morrow. This is the first of those "short-time notes"
which are scattered through the play. See Introduction III.
85. Good Monsieur Charles is itself a greeting, and there is no
need to read (with Walker) " Good morrow. Monsieur Charles".
87. Nor need we either make Oliver ask "what's the news",
or Charles answer "there's no new news". Indeed, "there's no
new news but the old news " is absurd.
89. In this speech of the wrestler's, Shakespeare can hardly be
said to conceal his art. Oliver already knows that there is a new
court. After this, however, his inquiries about Rosalind follow
naturally enough.
94. the duke's daughter. Charles, as a court servant, calls
the new duke simply "the duke". Perhaps he means to correct
Oliver; at any rate Oliver in his next question speaks of the "old
duke". ^
05. By making the two Dukes brothers (as in the Tempest]
Shakespeare has refined on Lod^e. He has redu/licated the motif
of fraternal enmity: and he has given the friendship of Rosalind and
Celia a natural ground in their blood-relationship— nature's protest,
as it were, against the feud between their fathers.
96. died to stay, died firom staying. Cf. v. 2. 94, " Why blame
you me to love you ", i.e. for loving you. Such infinitives are dif
ferent cases of the gerund ( = manendo, ob amandum), with which
to was originally used, in its locative sense; cf. Ger. s«=at, and our
•to-day'.
99. Where will the old duke live ? The use of the future, and
Charles's 'already', show that the Duke's flight is recent.
100. Arden. The real forest of Ardennes lies partly in the
French department of that name, but chiefly in Namur, Liege, and
Luxemburg. But Shakespeare's forest is in fairyland— an English
fairyland with glimpses of the classical Arcadia. The name 'Arden '
also belonged to the wooded part of Warwickshire, and this may
have been m Shakespeare's mind as well.
loi. a many merry men. We still say 'a few men'. In older
English the indefinite article was prefixed to other adjectives of
number as well. Some think that matiyh a noun here -a many
(».«. m«»>> = company) of merry men.
i^' *i.
Scene i.J
NOTES.
99
and note there. ^ *' ^ "°' "'^ ■« =doe« not let fall;
degenerated. For «;^/y=st^" of thn^^f '•'"*" ^^'^ ?"''"*'"y
in a better world than This" Th«^'"^' '^- '•,^- *50. "lereafter
mology-O.E. wer-e/J, ag?of men " accordance with the ety-
io8. a matter, a certain matter.
origl^llfmL?We'™andtL^^^^^^^^^ '''"/^'f- ^^'^^^
(Abb. § 315). ' *"'' ""^ '^'""s the notion of compuUion
sent?nce."'Se';e it's' « withTt '' ' ^'""^' '^ ^^ '^^ '^^ «<« of a
A^&S"iiL VaoTn:n'?"H!K"?r! \" °f'«° handled-..^.
ii. MAntonio^anrsSian nbt Kn, ''':J'\^^^^^ ^""^t
are no indirect su^esS amftrl, [°^°\''^*'*'>- Here there
appeal to fear. The wrestler U J" ^'"*'' ^"' P'"^" 'X^ng and an
h^'i; bribed " whh rich reward^^ '""""""^ accomplice, it Lodge?
"a. it is: used of persons; here in a tone of contempt.
GSr;'""'***"^ ^'°^^'y' - -^: here in bad sense. See
witrnoSoflt^!?!^^. "'*"*^ '"«'»^-' -• brother by birth.
2 th'*' " "!'' ' ""'' " """• ^°' ^^- Glossary.
5-: and .f you Please'; '^tlSS^T/TlL
»8. grace himself on thee, distinguish himself at your expense
X33. brotherly, with the reserve natural to a brother
133. anatomise him as he is. expose his real natur;
^41. gamester, hvely fellow. See Glossary,
bad^^mma? ^''"' '^^ "^'^^'^ *^f '^e expression disguises the
143. noble device, lofly aspirations.
Cf.'^inh?r^S?fco'f ^ • "'''^ ^^^ ^«"^«=* °^ ^« enchantment
W"-. I'll be ^J^rs'^„r;Ty!:ti'i:^^:'^' ^° -'"^e meTve
f
lOO
AS YOU LIKE IT.
[Act I.
f
145. in the heart of, beloved by.
148. kindle, incite.
148. Of this soliloquy Coleridge said in 1810, "This hu always
seemed to me one of the most un-Shakespearian speeches in ail the
genuine works of our jxiet". But in 1818 he wrote, "I Jare not say
that this seeming unnaturalness is not in the nature of an abused
wilfulness, when united with a strong intellect ". " An abused wil-
fulness " is the key to Oliver's character.
Scene 2.
This scene falls naturally into two parts, ( i ) the conversation of
the ladies with each other, with Touchstone, and with Le Beau:
(3) the wrestline match, and love a first sight. The first part is
entirely of Shakespeare's invention. In Lodge, Rosalind s first
appearance is among the ladies who are watching the wrestling.
But Shakespeare leaves Oliver's plot to work itself out, and carries
us on to make the acquaintance of the heroine, that we may watch
the wrestling by her side and see Orlando through her eyes.
Rosalind's circumstances we already know; we are now to see
how she bears them. She is not rebellious, like Orlando, but there
is a cloud upon her spirits, due partly to her father's banishment,
partly to the shadow cast by coming events. Celia's superior cheer-
fiilness gives her the lead at first. Rosalind takes only a half-
hearted share in bantering Touchstone. But when she learns that
the successfiil wrestler is the son of her father's old friend her heart
is touched, and Celia begins to slip into her natural place of the
amused and interested ally.
I. sweet my coz, a common inversion in addresses. Coz is
short for ' cou-'n '. See Glossary.
3. would you yet I. / is not in the Ff. It was added in
Rowe's 2nd edition.
4. learn, teach. For the origin of this common confusion, see
Glossary.
7. that I love thee. Shakespeare often omits the second pre-
position, when it can be easily supplied.
8. so, provided that. In full, " were (subj.) it so that ".
10. if the truth... so righteously tempered. The expression
is a trifle tautologous: ' if the composition of your love were really
as per'ect '. To temper is in Shakespeare to bring into condition,
by mixing (of drink), by melting (of wax), or by hardening (of metal).
We still say ' to temper mortar" as well as ' to temper steel '.
II. so. ..as, for as. ..as, is common in Shakespeare, and still in
vulgar language — ' So merry as a grig ' (Q.).
14. but I. When but and save are followed by the nominative
Scene a.]
NOTES.
tot
love . toy ..that as it was taken "withV„^^*=~^''^''««"n««l
with a wink ". But ShaLwDTrre^, Ro«f- ^^^^ "^'P'^ ^*^ ^''aken off
she had seen Orlando ^ Rosahnd would n.,t talk so after
24. with safety of a pure blu«h • a\ • u
Fonune brenk her wheel " it Znh It '"?' "l' '"'" housewife
.ben form of ,he wori. VJ' TS^. .""?■ "^'■'"' » """ely •
noun after it. •* " '"°" s^'ongly accented than the
33. honest, chaste. See Glossary.
34- ill-favouredly. The adv#.rh i,»,
ASi'wXtiVJtt-r'plr:^^^^^^^ °-!.?f thus contrast-
as here: with Law and CustomL in i , ^ n ^^ -"J'^!' *'"> Fo't"ne
as in T-mAxr, v. 243, .« more than natJ;/ w""'"" ""* Supernatural
and with Art, as in iv,»/,^sTal iv J t^f^ *^^" ^°"d"<^t of ";
you «.y adds to nature, is an an '^Cnttu^e ma°k« '.''^' ^'' '"'''^^
»heL^ma"r Si ' '''^°"«'> ^°«"- --ot make our natural gifts.
spS'i SougS?his s^cene'^' '''^^"r*" ^lowne". and his
made by ThcoSMlnhSiTJZn'^'ttff'll.- I\<^^--S^-^^
d«cnption of Touchstone ^ ^' h^;, "I'V^ "?',"''« that the early
T&stoTif ^fToi'^no ^n'aCr b'^ f '" ^''l^ ""^ '" ^-tch.
w« to call him so. If "he sSs of h" ".!}"l' ^"f^^n^'s punning
h"n a "dull fool "in iii. 2 u^L ° w^' J">"ess ' here, she call!
<^ames. ^- '"' even when he has turned squire of
I03
AS YOU LIKE IT.
[Act I.
t-
t
45. perceiving. F l, perceiveth. We must either correct as in the
text, with F2, or read 'and hath '.
48. An allusion to the saying "Wit, whither wilt?" Cf. iv. i. 146.
49. Mistress: improperly used by Touchstone in addressing
princesses. Costard makes the same blunder {Lovers Labour'' s
Lost, iv, I. 49).
71. In Fi this speech is given to Rosalind. See Appendix B.
71. honour him enough: so F i, and this makes good sense,
' My father's love is enough to put him beyond your satire". Many
edd. read "honour him: enough!" (Hanmer).
71. taxation, satire; cf. ii. 7. 86, and see Glossary.
77. Mr. Fleay sees in this a reference to the burning of satirical
books by public authority, 1st June, 1599.
80. Cf. Love's Labour 's Lost, v. 2. 315, where Biron says of Boyet:
"This fellow pecks up wit as pigeons pease, and utters it again when
God doth please ".
As Rosaline in Lovis Labour^ s Lost is in a way a pale sketch of
Rosalind, so Le Beau reminds us of Boyet; and we may have here
an unconscious reminiscence of the earlier play. " I always liked
Le Beau," says Lady Martin; and, though the ladies make fun of
the formal courtier, his advice to Orlando at the end of the scene
shows sense and good feeling.
83. Bon jour. Such touches (cf. i. i. 85) remind us that the
scene is in France.
85-7. Celia outdoes Le Beau in his own style. 'Colour' is
'kind', as in iii. 2. 383 "cattle of this colour , and in Twelfth
Night, ii. 3. 182, "a horse of that colour". Le Beau might have
understood the word in such a connection, but Celia's use of it
puzzles him. Collier thought that Le Beau pronounces 'sport'
affectedly 'spot'; hence Celia's retort. But the above explanation
is satisfactory.
89. laid on with a trowel, clumsily done, dabbed on.
91. Rosalind's puns must not be judged by modern standards of
taste.
92. amaze, bewilder. The word (a, intensive; maze) means
originally to stun, to stupefy. In E.E. it is used of any confusing
emotion. We have confined it to the emotion of strong surprise.
96. is to do, is to be done. In O.E. the infinitive is indifferent
with regard to voice, and is regularly used in the active when there
is action without a subject. In Shakespeare this use of the active
infinitive is especially common in this phrase; cf. " What's to do?"
Twelfth Night, iii. 3. 38; and our "This house to let" (Kellner,
§§34 5)-
K^ it:
Scene a.]
NOTES.
t03
• '~*7^*? *'°'""f- u'^^.^*'" ^^^ ^"b '^o'"" fi»t. and the subject
UMAbb" § aSr ^^'" " '^' "*''' ''P''^""^ ^''^ ^'«
104. As it stands the only point of Rosalind's speech is a poor pun
on presence ' and 'presents \ To better this, Farmer proCed^o
give the words "with bills on their necks" to Le Beau '^Biul^
will then mean forest-bills; cf. Lodge, " Rosader came mcine o-
wards them with h.s forest-bill on his neck ". This wouW Sfe us
wo puns instead of one. "Be it known unto all men, &c '^is a
Uanslation ofyV^^m«/««,z,.„,-^,^^^^,,„^, the usual preamble of
bills Nash (1589) speaks of those (? Shakespeare) " whrhTlef
i%Sech«"'^Cf1h-^?T,'" """^ were born,'^for handftils of Ir^!
cai speeches . Lf. ui. i. 17, and note there.
106. By describing the wrestling instead of representing it. Shake-
speare saves up our interest for the final bout; and perhL thouSi
he h^ no objection to plenty of blood in his tragedks, he felt thS
leSruro^'i'SJry^ni"""'"^ '°' '""^ '^^'^^ The'rib-breakin^^
"And kast him on the left syde, that three ribbes to-brake, •
And therto his oon arm, that yaf a gret crake". (245-6.)
Lodge's wrestler kills his men outright. See Appendix A.
107. which Charles IVAuA being originally an adj. (E E
112. So far Rosalind has been the wit.
to come out.
119. is there any else longs. ^;/y=anybody. This construc-
tion^^ explained by Abb. (§ 244) as omi^ion olf the relative. TsreSly
S, fh?.? T.'nTi''""''"!?""'^^^^'*^*^ ^^^ relative clause grew^
pitSe'^ Tent't§r;r274y^"'°" °' °"^ ^"^^^^^^ -'''^'-
'VZ.^^ sZfwinfbltr ^'P^'"P^^°" '^ ^--^'- ^^-
119. broken music is part music, arranged for different instru-
ments> < consort-mus c, for sets of the same Instrument. Cf Bacon
Siticl'J^' ^" ^V'^"^''^ ""^''^ "^ '^^^ broken-musicor conS
sS r« ?>. "'°'''' °^ instruments are sweeter than others". Shake-
K 52 "^""^ P"" ^"" "" ^'""^ ^"^•'' ^^3. and in Troi/us,
"7- ' Let him take the risk of his obstinacy.' For entreated
see i. 2. 34.
In O.K. 6e was used with intransitive, have
The woman now b^ins
130. successfully
131. are you crept.
«04
AS YOU LIKE IT.
[Act 1.
'i I
'til
I
with transitive verbs. Shakespeare commonly uses be with intransi-
tive verbs of motion ; so do we still with ' come ' and ' go '.
135. such odds in the man. In Shakespeare odds means su-
periority quite as often as inequality. There is no need, therefore,
to read men.
14a princess' call (so Dyce). Ff. princesse cah ; but Orlando
says " I attend them ", and though it was Celia who gave the order,
it is Rosalind who asks the question. Most edd. read princesses call,
with Theobald. It is allowed that s may be omitted after sibilants
in the possessive sing. ; Konig (p. 17) gives sixteen instances of plurals
in which, though printed (in the folios), it is not pronounced: and
(p. 16) three in which it is not printed. These are Antiphohn
{Comedy of Errors, v. i. 357): mistress' {Taming of the Shrew, i. 2.
277); and primess {Tempest, i. 2. 173). Add mistress (pi.) in
Lover's Complaint, i\i. This is a relic of M.E. usage. Cf. also
Abb. S 471.
148. The emphasis is on saw and knew: ' If you used your senses,
you would see '. There is no need to read our eyes... our judgment.'
152. therefore, on that account.
154. might: more respectful than may. So we say ' we wished
to ask ', when we mean 'we wish ', putting it as if our hearer's mind
were already made up.
156. wherein. The natural antecedent would be 'thoughts':
but, after 'guilty', in is always used of the crime; we must therefore
supply 'therein', as antecedent, to deny = in denying. So the
sentence means ' Punish me not for what I own I am guilty of, viz.
of denying, &c.'. I have punctuated accordingly.
156. much. The use of much as adv. with adj. probably comes
from its use with participles, where it represents the instrumental
case (Herford).
162. only goes with fill and would now be placed next to it.
Shakespeare transposes advs. freely (for emphasis), especially advs.
of limitation, such as only, but. (Abb. § 420.) The whole of this
dialogue between Orlando and the ladies is of Shakespeare's own
invention. It helps to engage their interest (and ours) in the hero,
and to show the real spirit— far from that of the ' gamester '—in
which he has entered the lists. We never sympathize with him
more than at this last confession of quiet hopelessness.
168. These lines accentuate the difference between Orlando's
modesty and the " haughty heart " that " goeth before a fall ".
X75. An suggested by Theobald. The printer, say Clark and Wright,
may have mistaken Orl. And for Orland. For the spelling and^t
Glossary.
176. ways : not the plural hut genitive singular in locative sense.
Scene ».]
NOTES.
«os
\lo t"T''f ' ^"^ °'^'""^'' '" ^^'-•-' mythology.
direcLnflSms to skowXt i^/rP^'-^^'ve form of these stage-
copy. See Ap^ndix B ^' '''" ^'^^ ^'^ P""'^d from an acSg
186. In Lodge the wrestler is killed outright
of'SVdl^^^^he'lfir'^'r^se'from^.'-''^ ^^""g^^* ^°"°fSir John
(Lodge). Thiss%htXSisTLa't%r'r.r^5'"*'"^"^ him"
Orlando has not yet reached thtn»^- ?1" 1'^ '" dramatic point-
tic propriety-it £ds a rei^^n t^^ OrL'ni"^^"'!':, '^> '« ^-'^'^"^■
from the court, and furnishes TdouhT. £i^ k°> *"''^^" retirement
lind, the bond of sympathy and the b^d f k'""!,'? ''™ ^""^ J^^^-
^) in characteriJion-it^^^;^ a new 1. '^"^*''^'7 friendship;
Duke in banishing Oliver (see ftirther 1 -^^ *" ^}^ ^'^^'^n ^^ 'he
derin^ temper into the blie which - "u ' ' ^"^ ^^'^^ »>» smoul-
RosaGnd. "^ "'h"^^ "suJts in the banishment of
Ju^ht o?The'i?rs?"'' '""" '" ^'^^ '-^ "- of his speech to the
iga. still, always.
oflVd!;S,'tith?ot?K J:^/'''"''' «=-" - ^'^^ inclusion
^otX?£reCd^;^*hrse;^;.'''^"'° ^->^^ ^^- <=»!«"*. title;
ao8. sticks me at heart t»,» *
.'^"tJ"st'|Iyas'|youhave'|exceed"lallnrn'l • .
His instances, however Ur. „„» "^^ceea | all pro mise '.
< and I prefer^Tscan (wShtSr ^"'' ^ ^'""'"^ ^^ -' -^er
SeeP;otinJr''^-'-"''-d'ed,aUpro',n.se.^
"I. shaU be. will certainly be. Cf. i. ,. X19.
4:';&e\itThi?^^^^^ away their hearts too
sympathy leads u^olS^e S' her^shv^'^^K^'' ^^^ g^"^^°«
wd mgering withdrawal OrK. 11 I' *™b'g"ous confession
\l
io6
AS YOU LIKE IT.
[Act I.
^r \
self-possession : he steps into a tent and acknowledges his devotion
in a sonnet.
212. out of suits with fortune, out of fortune's suite, i.e. service.
Schmidt compares the feudal term ' suit and service '.
213. could give, could find it in her heart to give.
217. quintain. The quintain in its simplest form was a post with
revolving arms. At this the tilter ran, his object being to strike one
arm and dodge the swing of the other. Later it was made in the
form of a Turk or Saracen, with a shield on his left arm and a s\v orrl
in his right hand. This is the form Orlando has in mind. ' I stand
like a stock, a man of wood.' For derivation, see Glossary.
221. Celia slily repeats Rosalind's " Shall we go, coz?" of half a
dozen lines before.
222. Have with you, come along. This use of Aave in such
phrases as 'have with', 'have at', 'have after', &c., has not been
explained. It dates from M.E., where it is used as a colloquialism
(Matzner, i. 386). From Lodge's expression, " I will have amongst
you with my sword ", we should infer an ellipse of ' I will '. But
'his full form is not found in M.E.
228. Le Beau is formal, even in doing a kindness.
230. condition, state of mind, disposition.
232. humorous. In ancient physiology, the ' humours ' are the
four essential fluids of the body: bile, blood, black -bile, and phlegm;
corresponding to the four elements : fire, air, earth, and water. The
mixture of these humours produced the temperament {Kpaais, mixture)
of a man, which was choleric, sanguine, melancholy, or phlegmatic
according to the 'humour' which predominated. A humorous man is
one who is at the mercy of his moods, whatever they may be. In
the Duke's case, choler seems to be the predominant humour, but
Le Beau is intentionally vague. See also iii. 2. 386.
233. than I to speak of. In Shakespeare (as in M.E.) we some-
times find the nominative and infinitive where we should expect the
accusative, after substant" -, adjectives, and impersonal verbs. Cf.
Comedy of Errors, i. A heavier task could not have been
imposed Than I to spc. .ny griefs unspeakable " = ' than that I
should speak'. So here, "than I to speak of"=:'than that 1
should speak of it '. (Kellner § 406. )
238. lesser: so Spedding. Ff. taller. See App. B.
243-249. There was no hint of this in what Charles told Oliver;
but Le Beau belongs to the inner circle at the court. 1 his explana-
tion is thrown forward here to prepare us for the Duke's outburst in
the next scene. Doubtless Le Beau gives the true reason for his
conduct. Lodge's Torismond is a far more politic tyrant. He fears
that one of the peers may marry Rosalind and aspire to the crown.
Scene 3.]
NOTES.
107
into'L^fi^ s/e gTo:;::^"*^ ^^^^ ^^o^^^". -t ol the frying-pan
Scene 3.
This scene falls into three narf • /i\ »»,- j- .
the ladies, 11. 1-33. (2) The sStlnrllf .!. '•'?'^ ^"'^'^'^ between
the prepa^tions flr'fli^U U. 83 ,0 eSd ^"'^'^"'^■^'' "• 34-82; (3)
The first part is all Shakespeare's own H,c «k- . / • •
IS to let us see the mind of the heroine :^H J I ^l^"^ i^ '" '• »)
of love which peeped out in the wresdfna c '''°^.'>°^ (" the bud
flower. Le Befu's informiion (i.TS S'f h ' °" ''' -^^^ '°
dramatic irony over this licht talk XV^^C^Kl^'T'^ "" *'"S« °f
over Rosalind: but she ( JE imJied ^Me ^nrSf.^lf that hangs
suspicion of it. Her siehs areTfnr ^*^*' ""^^e?' shows has no
were for her father (This S thlM/i °''*»do "o^. as in i. 2 fhey
reading in line 9. ) ^ ' '^^ "*^ '^°" '^^ preferring the old
numbe^o^ttse^cSisTcaVayuTo:;" tt?^^^^^^^^ S'«-<' '"e
n the conversation of theSes Hett (i I''T4,?1^''I^'""?
Juno m this scene, Tupiter fii a. d Pvthn'^J /-■• '^7). Cupid and
Hero and Leander {iv Tse^^i)&c.T^ ^'"- ^ '7'). Troilus.
or Celia. Some of h is s^ doubl d;;;^i TrT^''^'^ ^^ ^°^^^
I betokens the immense inSuen?e of Ovii NoS thaf r",''''^ T^
fency.free, still does most of the talking * ^^''*' '^''° "
5. reasons, talk. Rosalind plays on the word.
^10. worWng-day world, every-day state of things; also 'work-a-
seS; ts^tSSSotf^SSK^ss:;^;^ ' ^'--^^ ^ ^^^^
V. 2. .8,, where 4??»°rhS fo " Kate » "'""^ "■^'^^ ^^"""^
i^'^^S&-i:^i;;-^^
Th? w^ofd wll^^SSS^^r °^.f°»°^'"g the argument.
«T may (intenuonally or unintentionally) have sug-
\ \
r
loB
AS YOU LIKE IT
[Act I.
gested the metaphor. Cf. the pun in Merry Wives, v. 5. 122, "I
will always count you for my deer ",
38. dearly, excessively. Cf. "my dearest foe", Hamlet^ i. 2. 182.
The word is used in E.E. " of anything that touches us nearly, in
love or hate, joy or sorrow " (Wright) ; and, in fact, of anything
excessive in its kind: cf. "your dearest speed", / Henry IV.,
V. 5. 36.
30. We must not analyse these negatives too curiously. " Why
should I not?"— hate him or not hate him. " Doth he not deserve
well?" to be hated, as the son of my father's enemy, or (absolutely)
"are not his deserts high?" Rosalind takes as many of the negatives
as suit her.
33. Cf. Lodge : "the figure of wrath portrayed in his brow ".
34. Mistress: "used with some unkindness or contempt of or
to women, from whom the affections of the speaker have been
estranged". (Schmidt.) Cf. iii. 5. 45. with your safest haste :
the sooner the better for you.
36. Cf. Lodge (Torismond to Saladin): "See thy departure be
within ten days ".
36. if that. That is added to if, though, since, &c. on the analogy
of • who that ', ' when that ', &c. In the latter case it was added to
Sfive a relative sense to words originally interrogative. The full
orm is found in Chaucer, Pardoners Tale, 375, " If so were that I
might": which shows that after these conjunctions an ellipsis must
be supplied. Cf. i. 3. 108, " because that'' ; ii. 7. 75, " when that"
(Abb. § 287).
45. The Duke makes no specific charge, because he has none to
make, nothingr but general mistrust, bred of his own "rough and
envious disposition ".
46. purgation, exculpation, a quasi-legal use of a legal term.
Cf. V. 4. 42; and note on iii. i. 17.
5*. At the implied insult to her father, Rosalind is up in arms at
once. This is the cat hint of that high spirit which carries her
through all her trials and lies behind her buoyant wit. If she is a
woman she is a princess too.
55. friends, relatives. Herford attributes this sense (still a com-
mon one) to Scandinavian influence; O.'ii. fraendi always = kinsmen.
57-8. so much to think: as omitted, says Abb. § 281. But
perhaps this is a relic of the gerundial infinitive; 'to think ' = in
thinking.
63. remorse, compassion, as generally in Shakespeare. Less
ten = compunction.
64. Note the lapse of time implied, and see Introd. III. With this
speech compare the picture of girl-friendship, less tender but still
Scene 3.]
NOTES.
109
" y^*' Mermia, like two artificial gods.
Sfr^"^"^ °" "*'^'^'*' "^^'^'J »^'h one flower,
Both on one sampler, on one cushion sitting,
Both warbling ofone song, both in one key^
t;i, * J ..•••So we grew together
Like to a double cherry, seeming parted.
But yet an union m partition".
». t» unUk. for suTpS Ltalj; "" ' """' """ "•'"™
as it is unnecessary cousin— an act as unnatural
eminemly'Snt-"keSS»
no
AS YOU LIKE IT.
[Act II.
X07. Cf. Lodge: " I, thou seest, am of a tall stature, and would
very well become the person and apparel of a ps^e ; thou shalt lie
my mistress, and I will play the man so properly that, trust me, in
what company soever I come, I will not be discovered. I will buy
me a suit, and have my rapier very handsomely at my side, and if
any knave offer wrong, your page will show him the point of his
weapon."
Shakespeare makes Rosalind play the brother, a more proper
escort for an errant lady, and better suited for the prominent part
she is to take in the forest scenes. Rosalind has no occasion to dis-
play her valour, but Shakespeare has used the hint £^in in Twelfth
Night (iiL 4), in Viola's duel with Sir Andrew Aguecneek.
109. all points. The preposition is often omitted in adverbial
expressions of time, manner, &c. Cf. iii. i. 2.
114. mannish is to ' masculine ' as 'womanish' to 'feminine':
ish is contemptuous.
1x5. outface it. // is used indefinitely as the object of a verb
when the action is (so to speak) its own object. (Abb. § 226;
Kellner, § 283). Cf. the colloauialisms 'rough it', 'go it', &c.
outface. Vbs. compounded with out mean ( i ) to excel in, or (2)
to carry to an end, the action of the verb; (i) is the commoner
meaning in E.E., e.g. outbrag, outswear, outherod. Outface has
both: (l) to face down, to cow; (2) to face out, to brazen a thing
out. Cf. Merchant of Venice, iv. 2. .17, "we'll outface them and
outswear them too."
118. Oan3rmede, a beautiful boy, beloved by Jupiter, who (in
the form of an eagle) carried him off and made h'>> his cup-bearer.
(Ovid, Met. x. 155-161.)
lai. Scan ' No longer Celia but Aliena '. Celia is a trisyllable as
in line 60. AliSna (Lat.)= stranger. These names are taken from
Lodge.
130, 131. With Rosalind's banishment a natural pause in the
action is reached, and the First Act closes. It closes upon the word
' content ', the word which strikes the key-note of the Second Act.
' Content ' is the last word that Orlando utters as he turns his back
upon his brother's house. ' Content ' is the burden of the e.\.led
Duke's first speech. The lovers once safe together in Act Third, a
livelier sentiment begins to prevail.
Act II. Scene I.
Leaving Rosalind meditating flight, we are carried on to see the
place in which the rest of her fortunes are to be transacted. This
scene contributes nothing to the action of the play. It has two
closely allied functions: ( i ) to describe the natural background, the
free forest life in which the lovers are to meet: (2) to descrllje the
li. -iU.
Scene i.]
NOTES.
Ill
moral background, in the persons of the Duke and Taques More
over, coming where they cTo, these forest scenes supil? a broad U^
ofneutral colour between the somewhat gloomy huJs of Act i,„H
the radiant mirth and tenderness of Act iii. ^ ' *"'*
I. co-mates: a fine redundancy, only here.
a. old custom: 6. The seasons' difTer^nr* iv
to fed that years have been I-se"?n%xuf 7see int^SucTon m?!
3. Note the abundant alliteration throuehout thU «r»no «..„ • n
on the labials/,/.^, and the liquids /and if wHchEn^k^^^^^^^
loves. There is little of this in the plai J namUvi of A .!?!.''*'
now marks a more elaborate and broSding s"E '= "' ""*
Ja IJ/^tI"^.!,!.*'"* *^* P*"*^*y of Adam. Ff. »of Theo
u • Ji'!°'^5^'f°"^'^''°" seems absolutely necesS K
penalty of Adam is the difference of the seasons sKcJ^^
Slows the Classical, not the BiblicafaS^unr Sv^ S PSS
describes the Golden Age as a peroetual st.rinrr rr fi \r- V
Geor^a, u. 336; and ^Iton, pJIS^17osKT%s2' "^'
T, . , ., , " else had the spring
Ferpetual smiled on earth with vernant flowers ".
Those who defend the Folios explain the penalty of Adam as th^
Td mlk^7^'^'''""'"u 'r-' ''cursedisthegroLfotrrsake'M
a^l'Tht'^JeTouEr'sT '^^""" " ^he^seasons' difetnce^''
. 5-,^"eb^"ns the description of the natural background whirK
IS deftly continued in the First Lord's speech The winter's w^^H
he antique oak, the deer, the brawling brS these tXntL^ hi
fSlVnSnV"^"^""^ ^^'"P'^*^' °^ which l^LtUrfS
toL",;amely"= °^''" '"''^'^""^ "" '^' '"^'^""s. «nd so comes
n. feelingly, by making themselves felt,
si™ ih!;fe" o Ar„t """""""""' "' "-' »»«• The Ft
K
lis
AS YOU LIKE IT.
[Act II.
19, ao. " This is one of the interesting passages in which a great
writer reflects upon his own expressions with pleasure or surprise "
(Moberly). Shakespeare thus reflects once or twice upon sones; cf.
especially Twelfth Night, ii. 4. 44, " Mark it, Cesario, it is old and
plain, &c.".
ax. us, for ourselves: the so-called dativus commodi (Kellner, C
190).
aa. it irks me, it vexes me.
aa. fools : in E. E. often a term of endearment or pity. Cf. line
40 below. Compare 'silly '=(1) blessed (ulig), (2) innocent (often
in E.E.), (3) weak-minded. And contrast ' fond*.
aa. native burghers. Lodge twice has the same 'conceit ': " To
fat thy sheep, the citizens of field"; "Around her wondering stood
The citizens of wood ".
a4. Forked heads were distinguished from barbed heads by having
the points turned the other way. But here the expression seems to
be used loosely for arrowheads in general.
a6. Jaques, me m.-ist important of the ' background characters ',
b now elaborately introduced. Such an introduction is needed to
interest us beforehand in a person who contributes nothing to the
action. By using narrative (as in i. i) Shakespeare is able to pre-
sent him in a characteristic attitude, which could not have been put on
the stage. Note that he is at once dubbed with his proper epithet,
and contrasted with the Duke. Both are moralists in grain; but
while the Duke sees good in everything, to Jaques the incidents of
the forest are but a repetition of the selfishness and ' inane distress'
of the W(>i'ld he has left behind.
31. Observe the rare and beautiful vowel-alliteration. Cf. Milton
Paradise Lost,\\\\. i, " The angel ended, and in Adam's ear". On
this line Coleridge remarks, " Shakespeare never gives a description
of rustic scenery merely for its own sake, or to show how well he
can paint natural objects; he is never tedious or elaborate, but...
usually only touches upon the larger features and broader character-
istics, leaving the fiUiiigs up to the imagination... Other and inferior
writers would have dwelt on this description, and worked it out
with all pettiness and impertinence of detail. In Shakespeare the
• antique root ' furnishes the whole picture ". This is too indiscri-
minate. Nothing could be less true of the youthfiil Shakespeare.
It was only after a long apprenticeship that he learned the art of
suggestion, leaving details " unseen save to the eye of mind ".
3a. brawls: a fine poetic word, appealing at once to eye and ear.
38. These lines show Shakespeare's sympathy with animals. It
was a current opinion that the deer shed tears when dying. The
metaphor in line 39 is suggested by the hunt, and is appropriate in
the mouth of the First Lord.
1^
Seme a.]
iVOTES.
"3
4i< narked of In O E th
introduced by/rm: in m'.e'. o/^TJ^LuZ.^^^ " '^'•"y
iya the exception: in the i6th c*nt?.™ / V '''^ " "°' uncommon,
is still frequen? in Shakeij^ar^J' (kS^S!^^:',? r™"' *'"' ^>
44. moralize, draw a moral le,«,n from. ^^^^"^
Sht5„J^jrR"iSaTl?'^!ST^^^^^^^^^
h.m his distinction" (D^wden) K • 'l,-*'^' °f J"^"" P^^^
esthetic indulgence of an unbriS led fS isTn fj'^^^^ ""'X the
wuh a «,ur moral-the poet -krnVSTksr /h^^JSro'^^^^^^^
46. weepmg: one syllable. See Prosody. 4. /.'""P'"'
46. needless. The adi lik- th- v. •
or intransitive, active or piiiive In F P ' " "i''" transitive
those m -/«/, -/m. -(}Af anH^^Ir- • jT^;*" ™any adjs. (especially
Cf. ii. 6. i. .*. comforubfe ' 'Z^STT''""' '^"^ '^^ard trvS
SS 249, 250). • ^ '"• *• '°' ""expressive » (Kellner,
grant of coat-arms to ShakTspS's ff tr*" • '?"8 Past; the draft of I
1596. ^naKCspeare s father is in existence, dated Oct.
used 'pientlTetiS'lfy!*"""' " " 9^id pejus. The expression is now
68. matter, i.<. matter of discourse.
Scene 2.
ItSlVs^morrilSLS^^^ ^""^ "'• '' ^^^^ banishment of OUver
Duke (see ii?3 S^n TheTnTnMf^ ^^^"^ character of the
f.m find hlm^ thus thrown forS felTh""; '?' "^'» '"'"'-
Ohver-s treachery, gives a hinf ^thl 'rlS^lt tlsT^^^^^^^^^
« >K to I'^tZr^^ri^^-^^^,'^^^ »-• The »erm
fme IS expired » (Moberlyl ^ ^J^'^' '^ '^"""^t ^'hose
"e »'nr;urSar/^?e^'„=^^^^^^ ''T "^^ i^-'' ^y e^
the possessive adjective^Abb "^23" ""' ^'"'*^ '*'* repetition o^f
If
:' I
r &■
114
AS YOU LIKE II
[Act II.
7. untreatured, a bold coinage of Shaketpeare's own: only used
here; and ' treuure ' ai a verb, only in Sonnet vi. 3.
10. There is a Hesperie in Ovid, Met. xi. 769.
13. wrestler: three syllables. See Prosody, 4^ c I.
15, 16. A very gentlewomanly conclusion!
17. that gallant, i.e. Orlando.
19. suddenly, at once, without any notion of unexpectedness.
31. Observe the plural. Celia (i. 3. 130) only anticipated pursuit
after Aer flight; but the 'humorous Duke' nas already swallowed
his wrath against Rosalind, or forgotten it in his anxiety for his
daughter. Note, too, the word ' foolish ', by which the choleric
usurper puts on others the blame for his own ill-temper.
Scene 3.
This scene takes the place uf a long and boisterous episode in the
novel. (See Introduction III.) It is essential that the wrong should
be all on Oliver's side. Orlando must remain as gentle as he is
strong and valiant; and here is a new testimony to the charm of his
character, in the love and loyalty which it evokes.
3. memory, memorial. The use of abstract nouns in a concrete
sense is very common in E.E.
4 The thought of his old master is tdways present to the mind of
the old servant.
8. bonny, big, stalwart — a rare but not unexampled meaning.
Scott (Fortunes of Nigel, c. l) calls grim Richie Moniplies "the
bonny Scot". Fur a contemporary parallel, cf. Hooker, 5>r»w« VII. \
"Issachar, though Iwnny and strong enough, &c." (1600 A.D.).
There is therefore no need to read ' bony ', which, as Wright points
out, would mean skeleton-like rather than big-boned.
8. priser, one who contends for a prize, a champion. See Glossary.
g. Yet Orlando left the court at once.
10. some kind of men. Cf. Lear, ii. 2. 107, "These kind of
knaves". These expressions admit a historical explanation. In
O.E. they said not 'all kinds of men' but ''alia cunnes weras',
' men of every kind '. But ( i ) as the sense of inflection decayed,
the construction was forgotten — we find 'alles kynnes'; (2) the
French phrase ' all manner of came into use. Hence we find such
hybrid constructions as this on the one hand, and "what manner
musicke'' (Spenser, Faerie Queene, ii. 12. 70) on the other. (Kell-
ner, §§167-172.)
11. them: rer'undant object (Abbott, § 214).
la. No more do yours, yours are not more serviceable to you.
M
Scrat 3.]
NOTES.
to it again in ^»^^n/a^ dZl^;^ft V^'~'^\l "' '«fc"
.uch reference .he expre«.^ fSoZ' *^ ^^'''"'"' •°'"-'
23. u.e. are wont. We .till employ .he p«t in this «„«,
For'buTch'y",^; gS;J:«^P'""' '•'• »° »>on.e. but a .hamble,.
.hf;afou?vSg™oS^eTv«-' °""'°'' '"^'g^^'o- "force,
« fbHrr^M""!**' ""^ ''^"'^' ''°'" ^'^^ ~"»« of nature
^39. thrifty hire, hire saved by thrift. Cf. i. ,. 3,; ^Z^y
A& /ii."*"" "^ "^' ^' '""" ""^ 4' '"- to supply ^ with
43-4- Cf. Luig xii. 6 and aa- "Ar* . «
two farthings, and not one ,.f .K '^^* spwrows sold for
"Consider the ravens- for thev t^l " 'S''"*^" ^f°« God?"
feedeth them." ' °' ^^^^ "^"^'" ' * "or reap;...and God
Thf /rL''5^:;rp?ratl':„rtS'=Vc Passage, in Shakespeare.
of A4m; but it isScuU to wSe Zt"H°P"''''= ,'" '^' ^"»h
significance. oejieve that it has merely a dramatic
53. kindly. seasLable. S.^'iiTl^^^^^^^ '"''''' '°' ^''^ ^'-^•
ficilo;'ofi'rh;'^'^^ffe^^^L^^^^^ -^opts the
of the "old igt" as a tiW of J i^*^ "^"^""^ •>« again speaks
"In him thos/holv antim^ h^ pnmitive simplicity wd trutT-
itself and true » (Sonne? S) " In"thT ff"' Y?''°'« all ornSnent.
fair" (Sonnet 127) In Lity Ve °ii'S' 'l^'^^ ^!i* "°' <=°"n^
occurs in M.E. ' represent a strong form swa/; noet
6, in ;• ^''';''^« ''"'^ "« P>-ol>ably accidental.
=in place o? ' '" '''"™ ^°'' « *'*'^3^ '" Shakespeare. Properly
ii6
AS YOU LIKE IT.
[Act II.
Latin may have something to do with the frequency of this idiom in
£.E. (KeUner, § 252).
71. seventeen: so Rowe; Ff. seauentie ox seventy.
74. too late a week, too late by a week, i.e. by a good deal— a
proverbial expression. Wright, however, thinks a = m the, as in
' a-iilght ' (ii. 4. 44).
Scene 4.
This scene is a good example of the way in which Shakespeare
transmutes his material. The prose parts are his own, in the rest
he follows the novel. But the presence of the clown, with his bur-
lesque comments, makes all the difference between the sentimental
and the comic. As minor changes we note ( i ) that in Lodge Gany-
mede and Aliena learn Montanus's love from poems hung on trees.
Shakespeare uses this hint later in iii. 2. (2) That the conversation
overheard between Corin and Silvius takes the place of a long
eclogue in the novel. (3) That Montanus stays on to the end of
the scene, and escorts the ladies to their cottage.
1. weary: so Theobald, Ff. w^rry. Furness, who defends ;;«rry,
says that this is make-believe, and that Rosalind's second speech is
an aside. But Touchstone's joke requires weary.
2. The fool brings us down at once to the level of the common-
place.
4. the weaker vessel: cf. / Peter, iii. 7, "giving honour unto
the wife as unto the weaker vessel ". Shakespeare seems to have
found the expression comic: cf. a Henry IV., ii. 4. 66: "you are
the weaker vessel, as they say, the emptier vessel ".
9. cross. The ancient penny had a double cross marked on it,
(Hence the expression, "crossing the palm".) For the pun, cf.
Matthew x. 38: " he that taketh not his cross ", &c.
13. Arden: perhaps a pun — ' a den '.
25. As introduces a statement "qualifying or even contradicting
what goes before". (Ingleby.) This use seems to have escaped
Schmidt. Cf. iii. 5. 38.
27. fantasy, here = love, or rather love-thoughts, a common mean-
ing of the shorter form ' fancy ' in E.E. See Glossary.
3*-3S"38. These short lines, repeated at regular intervals, give a
dithyrambic sffect, proper to the expression of intense feeling.
34. Wearing, fatiguing. So F i. The later folios (and the
Globe) have ■wearying.
39. Silvius's sudden exit is very effective. He has said enough
to prepare for the g astoral subj-plo t. Perhaps, too, Shakespeare
purposely avoids an encounter between him and Touchstone.
t I !
I
Scene 4.]
NOTES.
117
noun that
meta-
phor is from surgery; selrchLjK^- (^bb. § ,78.) The
•th^ ^^or!t:;^'A:;^:^^^^^^^ - of the verba,, with
qu.a.". (Abb. 893.) It H'-^lSsl^^tZ^n^'^^' '^ '^^^'°^
45.batlet:F2;Fr.<5a//... See Glossary. ^'
45. chopt. CAo/, is another form ofcia/>.
pei^TsUMac^tTl^SlTtLTdc:?- J^ « M with nine
IS to be her husband. In ShakeTt^Wc ?^ '^'?' "^^ *''° «"'",
love-token. The peascod must m '^T u"" " ^« ^ favourite
Touchstone mistakS f?r L sweeSt '' h ^' ^^'^ P^^"'> ^^ich
hK rival. Hence wAom and ^7r Hin^i^w.^ T"''?"*^^ "^ ««ne for
•n Ime 43 to the stone. C^Xe ^J^/i ^^^'^ '^^ P'«»^ « >*'-
(KSSr.l4S:r °^ '^^ "-'^ '^-e;iaTTnT;Lj;f ;r
50. mortal in foUy. excessively foolish. See Glossary.
5a. ware of. m two senses. ' aware of and « bew^^f •
on the worT- ^""^'^^'^"^ ""^ans « bumpkin '. and Rosalind plays
those wt"rr?UKr "^^ ^°"" "^'^- '»>« word to mean
'sh'?: JTf^re^'fLrrBTt ^&f^^ «; ^f'- '-id. or of
'cou^O construction referred to on i. 2^ ,,9 '' °"'^ * '^^ ^^ '^e dTd
u.^x'"SSdt"Ssr£eZ'°'r°^^^ ^^- "^ieforfood",
"borne in mind tho^h not e^prS » ^'Y^^^.' * "^F^^ve i
detail is added by Shakesnearrf^ i* 9^' ^'^^ '"• 2- 28^ This
alike-cf. scene I In SfSe °aZ^' '^'/^'' °^ ^''« fi^P'ives
forth such victuals as they had" "'^ ^"^ Ganymede "pulled
^-'^/, V. X 367. "dyingVofc^. J"d7ng"ot:"= " "^ "'^'"«'=
83. What is he Ahh « ^r.\
time the first question about inv ^n '"?^!''' '^^' '" Shakespeare's
Ii8
AS YOU LIKE IT
[Act II.
4 )
t
85. stand with honesty, be consistent with iiair-dealing, i.e.
toward Sylvius.
93. feeder, shepherd. The word is used for
'servant in
Antony and Cleopatra, iii. 13. 109, but with a contemptuous sense
(Schmidt renders ' parasite ') which is out of place here.
Scene 6.
This scene is entirely Shakespeare's. It is interposed here between
Rosalind's arrival in the forest (scene 4) and Orlando's (scene 6).
The sentiment of the songs is intended to recall that of the elder
duke's first speech. Jaques is at last introduced in person — the
discord in this woodland harmony.
I. Greenwood songs have been r^opular in England since the days
of Robin Hood — "In summer wlien the shaws be green". This
song may have been in Bunyan's mind when he wrote " Who would
true valour see " (,PilgrinCs Progress, part ii).
3. turn his merry note unto, adapt it to. The phrase is on the
analogy of 'turn a tune', which is still common m dialect. Cf.
Hall, Sat. vi. i, "While thread -bare Martial turns his merry
note".
14. rag^ged, rough, broken. Common in E.E. for anything with
a rough edge, where we should say ' rugged '.
15. Jaques is still in the sullen fit, but his melancholy has passed
firom the pathetic to the brusque. Brusquerie is as much part of his
pose as pathos.
16. call you 'em stanzos? Cotgrave confirms this spelling.
Shakespeare thought the word new-&ngled and affected — he has a
good deal of the British contempt for foreign things — and puts it into
the mouth of the pedant Holofemes in Dme^s Labour 's Lost, iv. 2.
107 : " Let me hear a staff, a stanze, a verse".
18. names, in the legal sense of the Lat. nomina, i.e. names of
debts owed.
22. that. The relative is omitted — probably because identical in
form with the demonstrative (Abb. § 244).
23. dog-apes, probably dog-faced baboons.
24. beggarly thanks, thanks like a mendicant's. The adj. re-
presents a genitive ; see on ii. 3. 67.
27. cover, lay the cloth. The Duke is going to ' drink ', i.e. take
dessert, under the tree. See ' banquet ', hne 58, below.
27. the while. WAiTf is originally a noun, = time: ^o the while
= (in) the (mean) time (Abb. § 137).
29. look. The prep, for is often omitted with this verb, which
thus becomes transitive (Abb. § 200).
ii i^.
Scene 6.
NOTES.
119
nSi'fr^m^^:"!^ '" '^^"'^'^ sense = disputatious Cf. ii. ,. ,6.
boL'tof it'f^* ^'*. «i- 3. 19. "Give God thanks, and make no
34. Note the form of the stage direction, and cf. i. 2. ,97. ,0, 247
/«s«.:^.1:re^t piss^y"' '° ''^'^^ -"^^ ^"- -^^^-tion."
of f„pSrrwsVu;ieS":fth?'Smr"i^^ ^'^ -"-'«-
never better than .hen heTi^JfnfiSJ^S ^Sf" S ?g— ^
Ai";ns^"'?Jsr^'thr""'tS!i;:if"' "•^'"-"^ p^"«» ^o
"Dusadam-me-mc . from" a Ss^f/,9"°'% ^ "™''" "frain,
printed copies have •< Ho J trolty^oUy » "'" ^''^''"''*' *^"^ '^e
4:WeiS: S^L'^-if*- :SSJ *° P'- ^'
w, br^ng him to me tV an„^f corrected by Hanmer to due ad
Ainger's'z>«X:';hici'Set\Th;mrf;y..^^^ ^'^'^ ^^
where at present there is only an assonance! ^ '°'"" *° "*">
Thf phtetfrom*iXli.^S*^^*' '" "'^^ "^ *°'* »'-«i«g-
64. banquet, dessert. See note on line 27.
Scene 6.
offers to open hTow^ins to Sve V '^' l,'^^" t^^'^ '^^ «d
does Shak«peare gain tenderne^ !nH t Ik ^^'V"^ ""K^^ <^hanges
type of manlfgentEless "^ ^'■"'''- ^''»"'^° remains the
I. I die for food: cf. ii. 4. 69
»• For uncoiiMi ».,j . « o o'ta/-
6. For uncouth and savage see Glossary
t IV '
I20
I •
AS YOU LIKE IT.
Scene 7.
[Act II.
This somewhat complex scene falls naturally into two parts (i)
dulogue between the Duke and Jaaues before Orlando's Vntrance
tl aS ''(if rjl' i^v^'^'^''> '^^"^"^ "^"^ reappearanc
KLe R;,f P^ i ' Shakespeare's own: {?.) is adaptVd from
ffirio H ^T^"' ^ "sual. is more of a swashbuckler than
Orlando. He offers to support his demand by lighting any one of
W ^T^n ?"^^ ^""""^ ^"'^ '^^ ''^°"ght that all things were savage
there make Orlando for a moment forget his natural courtesy. The
encounter with the fool, narrated by Jaques, shows that all the chief
SlTiT r "°^ "' '^' f^'^^'-'^^y ^re Aot all brough togethe
111 the last scene-and serves dramatically) to fill up the time be
tween Orlando's exit in scene 6 and his entrance in scene 7.
I. * think he be. Bg (in O.E. generally future, then exclusively
subjunctive) gives a tinge of doubt («) in questions :>) after verbs of
thinking Tit locus classicus is Othello: nu 3. 384, " I think mv
wife be honest, and think she is not". (Abb. §§ 295. 299). ^
5. compact of jars, composed of discords.
6. discord in the spheres. The Ptolemaic system was still the
common one in Shakespeare's day: it was held et?nTy Son and
adopted for poetic purposes by Milton. According to the p"a'tonic
of TsZn, nV''-'".? ^^'-^^<^' \'^'^^ ^'7). the eirth is the c nt e
fl,-. M^ .i,^/'^*'','=°°""'"<= SP'^^^S' >" which are fixed the Sun
SundX' Sfrtt' P^"'*'' ^"^^ '^^ ^^^^ '''^ Thesesphere revo ve
"J*>f •:«'?. not the smallest orb which thou behold'st
But in his motion like an angel sings,
Still quiring to the young-eyed cheru'bins ".
12. Jaques enters in an entirely new, but quite consistent mood
in'scene^hTwenTotr ^"'"'15 '''' comjiny inX forest Then
in scene 5 he went oflF to sleep. He returns in an ecstasy over his
new acquaintance, in whom he sees a privileged philosopher
r.i.u.Tt:^:^iZ'':'i;^t''' ^^ ^^^ '^^^^^ °^ ^-^ -^^^ >^-
the orofeSl .iP"ti-coIoured dress was the regular costume of
the professional jester, anu survives in the clown of the pantomime.
fool?: ^'"'^'"^ '° ^^^ P'°''""' ^<"'^«*^M'^Af«*s. Fortune favours
E E ■ for anv^hTni'^ °' ^'^"^ ^ pocket-dial. The word is used in
li.b. for anything to measure time, on which the hours are marked
ao. poke. A large pouch was part of the jester's outfit.
Scene 7.]
NOTES.
tai
38. And thereby hanes a taU- ^
reserves, like Mr. Kiplincf "ButX;'*" expression implying vast
by characters like M^rs-^uickly .^'^''S?^^" ^'^O'" ^^^
clown in OfAt/lo (ui. i. S)? ^ * "^ ^'*"' '• 4- IS9), and the
,T tTe o^ir^"'"" ^^"^ ''^'""'^^ *''-''« 't an adj.)
4. the only wear, the only thing worth wearing. ' ^
■ InZ ' ' ^^-^--yethadhis'laughout.
Gr .jJ:: ^rSn^^^^^^^^^^ translation of
But the ordinary sense is sufficient. ^°' ^^^^ of argument,
suit: with a pun.
^i'^i^S': &?i%t^- '""'"^ ^-' i"^g™ents and so make
m^e ^tS^'olttlSS^S' Jy^^^^^^^ ^^^ --. the
"doth very foolishly". Jaqu?s is eSn/n^ venr wisely »' and
galls most must laugh most- for 'f "P'^^^'ng why those whom he
your only sensible cfurS?s lo pretenR/ » %^°^' •'^'*V°" <^^^^^rly
you expose yourself. ^ ^'^"'^ "°' t° feel it ; if'you wince,
h«?pemin Gr«k lorll?:"''fo"shV"".? ^°'u''''= »*«« <>' that
etymology. AmUcmiu (whicTh^V,^lu° '^f ^? ''"'^ "°t feel the
nght word here or in i 1. 133 *P*"* 'anathomize ') is hardly the
»rS:S\o™XS;ilT£ "r^^^^^^ "if °«en introduced
part of the dramatic situation whiT. ^/^ ""1 *°' °' ''"""ing a
thought just expressed". '' ^'""^ ^''P'^'"^ a bold or figurative
!U'"rr^'f '"''*•• ""'°'"^'^°'- See Glossary.
». counter... netal disc used in counting. ' "'
ButVdSVy^T;-^^^^^^ rhe'"?.^'^' ^r ^^f-- of. satire.
^^"'tSs^s^sii^n^^ t£r;s^i^r-j
^^"ture). Jaques rep^iVthifi n.'.T'f? f '^«^"''« fr*"" S
■l!
122
AS YOU LIKE IT.
{Act II.
not only what his characters are, but how they have come to be what
they are. But Jaques' profligacy is thrown back in time, not to form
too harsh a contrast to the prevailing tone of the play.
66. the brutish sting, animal passion.
67. embossed sores and headed evils. The redundancy gives
emphasis. Embossed (see Glossary) is ' protuberant ' : headed evils
are boils grown to a head, evil being concrete, as in ' king's evil '.
73. wearer's: so Singer: Fl wearie. Singer's emendation is
convincing : Jaques is speaking of the pride of dress.
75, 76. The extrava^nce of the City dames in their attempts to
ape the court ladies is frequently referred to in the Elizabethan
Drama, and is the subject of Massinger's City Madam.
79. function, office, occupation.
84. do him right, do him justice.
85. if he be free, if he have a clear conscience.
93. civility, has in E. E. a somewhat higher sense than now. Cf.
"civil sayings", iii. 2. 115.
97. inland bred, bred in inland (i.e. civilized) parts. Inlands
this sense is opposed not to the coast, but to upland or outlandish
parts. I have heard the word so used in Scotch — "a mair inland
look", i.e. a more cultivated aspect.
xoa. Note the arrangement — gentleness : force : force : gentleness
log. commandment, command, as constantly in E. E.
no et seq. These lines have the high classic note above any
others in the play. The versification here — a string of single lines
in " linked sweetness " — reminds us of his earlier manner.
1x8. Orlando returns to the antithesis between force and gentle-
ness.
120. The Duke repeats Orlando's words with fine variations.
125. upon command, for the asking.
127. Observe again the alliteration on the labial/; and Orlando's
characteristic simile ' ' like a doe ".
132. weak, causing weakness. Cf. ii. i. 46. This is prolepsis in
the full sense, when the attribute of an effect is transferred by antici-
pation to the cause.
I37' Shakespeare, though not proud of his calling, naturally
abounds in theatrical metaphors.
139. wherein we play in. The prep, is often repeated (cf. line
90 above), though rarely after so short an interval. But it is hardly
felt in wherein.
139-166. The metaphor suggested by the Duke is seized on by
Scene 7.]
NOTES.
»23
Jaques, and elaborated with his usual fiiln«.. ^r c
&mous speech, observe (I) tha irserv« Hr \- ^^?^' ^» '° **>»
interval if Orlando's abience (2 K ft f/T '"^"^ ^^ ^^} "P '''«
ab extra view of life : (3) Si in the ' r . f ,^"*'^'«=™t,c of Jaques'
or sordid hghts-the infant mewling ^h? u P'l*«»<=^ *" absurd
lover sighinl. the solSS swearing Vc rtelh^^^?^"'"?' '^^
the Ecclesiast, "The thinp that hf'th L • .'''°"eht is that of
be. . . and there is no new^tWng ^l^^^^'UV^'') "^^^'"^ ^^^'^
In Sonnet 123. Shakespeare refurrto he Z.J^." '"""'*"' '' 9)'
Greek philosophy, that'lhe hfsS? of the woJFd renluT K "
penods or cycles. ' woria repeats itself m
the'S-o.^'Aere^tKew^e^^fed'^r^.r^^^^^^ ^^ »^^ '"<'"° -
'all the world plays the Ictor'Rnl ^^"\r"*"i**'.''githistriomm,
worked out by Ldan " "' "^^ '''°"6*'^ '" """^y "^ ; it is
on'ine 5^"'^' ""P'^' ''^'"''^^y- "'^^ ^at. ^.^, Contrast note
J\'onie"X?iK'^^^^^^^^ Man Shakespeare may have
l«. ballai: before la.tcenlmy=soi.g of ,ny sort
^^o-ije. The m of the be.,d showed U,e profession of the
l__^taed: in E.E. of contenu genenUly, „ still in coUoqui.1
'75- unkind: see Glossary, under kind.
124
AS YOU LIKE IT.
[Act 111.
1
h I
I
ck!!**' "Songs of the holly were current long before the time of
Shakespeare. It was the emblem of mirth." (Halliwell.)
X87. warp, distort. For the derivation see Glossary. But the
derivation » not always a safe guide to Shakespeare's meaning I
|s more important to see what picture he hatf in his mind Th,
image here 1. of the wrinkling surface of a pool on Xch ice i,
the"bLrsk?."' '^ ^^ ""^ "^^ "•"''• ^°' ''^"' '° '^^'^^ ^
189. As friend remember'd not. This is probably an instance
of the use of the past participle in active sense, for which S. S o„
^nt li ^.?^^"P''^*' frequently has "to be remembered" in the
sense of (i) to recollect, cf! iii. 5. 130: (2) to consider: "O be re
r4^^rii?'
»93- efffgies, likeness. Straight from Latin, hence the accent.
-00- Here Adam disappears from the scene. There are so manv
threads m the action that Shakespeare has his hands fifl wSI
ACT III. Scene I.
«.S?jn'»i!''*' ''"™" °i ^^% ^ntt^loi. It would come somewhat
earher in the prosaic order of events, perhaps after ii. v but Shake
JSZst "^hSh'' "f""' sequencrforSe sake of'{he JraS.fc
SeSmenTbeVnl' ""' "'"' ^'^ complication is complete and the
OliCeS^L?* m"!? ''"" implies « I did not see him since' on
Uliver s part. Modern usage would require the perfect.
2. the better part, more than half. Cf. i. 3. 109.
ciptal fom S?": adjeX.'""'' ' ~"''^^*'- '^^'P'^^ ^y the parti-
6. Cf. Luke, XV. 8, the parable of the pieces of silver.
II. quit, acquit by thy brother's mouth, on his evidence.
15. More villain thou. This is one of the great dramatic mo-
ments in the play, when the tyrant Duke crushes the tyrant brother,
and in so doing condemns himself out (rfhis own mouth.
if)
Scene s.]
NOTES.
125
In Md. E. tiatun and
16. of such a nature, whose duty it is.
>,Wh«ve partly exchanged meaning,?^
the body, lands, and goods of X debtol ™^k?^"' •"".^'' ^^''^
IL"f5!!^.^« S^ecf by Lord' CatSl r.'' ^.i^"'^./!--
"ui iicre mere is
(For derivation
Scene 2.
sce^ftfSnr^f ^niX^^deS^^^^^ ^" ^^« P'-^.
which constitutes a fresh^tep towSds t L H * ''"'^"''^ culmination,
thing here leads up to the meetK Or£nH "T?*"'.-. ^o every-
proposed wooing /n masquTrade^ ?i) Ortnl*"i? ^°'*""^' "^^ ^^e
about love since ;. 2: WintVod, r Ji^ r ''^ ^" "°' sa»d » word
for the poeps found by RoS'S Cer^SfTlf '."-^P*'* «
tween Conn and Touchstone cr,nn^^»e .1 '*' ^^^ dialogue be-
life of the forest, as (3) thTl^tween Ori-^ ''""%*'»»' the^toral
with the sylvan. These interludes «, w.1? ''""^J»q"« ~nnects it
which Rosalind learnsTat gr£do is ne^L" Z^'. r^*=««''°° '"
invention: the idea of the poems hunl;^?^''*''"P*'"«^ sown
mock wooing, are suggesterbv LoS^! T *'"'^'' v*"^ 'h»' o^ the
gested. ^ ^^"^'' ''y ^^e« (see 11. 4), but only sug-
a. thrice-crowned queen of niirht ti,-
worshipped as Lun^ .'the nioon)?n the*^hLeI? D?»n' ^''^^'^ ^^
Proserpme in the under-world. "eavens. Diana on earth, and
ofapl"i:t?p?o^r/n1it"h°eM ^^ .P^^' '"^^ '^' ^M^re
shell in which'^t Sd and which . •'' *• * °''''*' ^"' '^^ follow
However, seems to ^sel^T^^^^^yTV^ZtiJ^^^'^^'
n^ph that waits upon SnJs tTLv, Vh'^ ^1^'°^^ ^' '^' some
ciphered in such epithets?" ' ""^ chastity thou has de-
Arboribus"-. to^c;rv/''SrtSe"ohove"nrdrS s"^^^^
'0. unexpressive. inexpressible. See note onTi.' 46
H'
126
AS YOU LIKE IT.
[Act III.
used by Shakespeare as a noun = woman. Cf. /le, line
10. she:
368 l)elow.
11-74. Since Touchstone last appeared in ii. 4, his wit has suffered
a wood-change. The moralizings reported by Jaques (ii. 7) give a
hint of this transformation. To Corin he ix)ses as a man of the
world, but on Rosalind's appearance he relapses into the buffoon.
13. On this judicial summing up of the contrast latent in all pas-
toralism, Hazlitt exclaims in ecstasy, "Zimmerman's celebrated work
on Solitude discovers only half the sense of this passage ".
ao. hast : ag. wast. The marked inflection of the 2nd person
singular allows the pronoun to be omitted.
35. all on one side qualifies ill -roasted, not damned. Shake-
speare's similes, says Malone, rarely run on four feet. Similes seldom
do, and Shakespeare sometimes exhibits the inadequacy of an image
by the vividness with which he sees it.
37. With this string of fallacies, wherewith Touchstone tries to
bewilder Corin, compare the rhetoric with which he bamlwozles
William (v. 1); and the "argals" of the First Gravedigger in
Hamlet. The fallacy here turns on the ambiguity of "good" and
" manners ". " Manners ", like Lat. »ior« = morals, as well as de-
portment. Cf. ' ' evil communications corrupt good manners ". Shake-
speare does not use " morals ".
40. parlous, a vulgar form oi perilous.
44. you salute not. .but you kiss, you never salute without
kissmg.
47. fells, the skin with the hair (or wool) on.
49- your: used indefinitely of what is well-known. Cf. in 'his
play V. I. 40; V. 4. 58; V. 4. 92— all in speeches by Touchstone.
It is also a favourite idiom with Bottom.
50. mutton, sheep ; see Glossary.
54. more sounder. The rise of double comparatives in M.E.
was perhaps due to a struggle between the French and English modes
of comparison. (Kellner, § 254.) In E.E. they serve to give em
phasis.
58. in respect of, in comparison with.
59. perpend, reflect. (Lat. per: pendere, to weigh.) A pedantic
word, put into the mouth of Polonius, Pistol, and the clown in
Twelfth Night.
64. Qod make incision in thee : refers to blood-letting.
64. raw: not literally raw, but inexperienced.
65. Corin is driven to defend himself seriously, in spite of his de-
claration " I 'II rest " ; but his defence only gives another opening tu
Touchstone's inexhaustible wit,
% :^
I
Scene a.]
NOTES.
127
fiiult wk evrything. ^ ' touchstone is bent on finding
79. lined, drawn.
80. black to, black compared to.
the preceding century, becomes very common 2a nfn E F^nrTw"
owmg to the influence of Latin (KellnerJ^i 24T ^ ^
83. I '11 rhyme you. Vou is the so-called dativus ethicm,
^appearsfrom Holme; isa'^^c^ b^^SVt^rrnTanTnf^.r
90. cat will after kind : a proverb. See Glossary, under kind.
defends'^ai"!" S^rvT'from tJ'e"' »'''-«'<«'-'(. -^ich Schmidt
tio'n~ whther' moLtoTp^S" "'■^"'"" ''"' ""'"^"^ '" ' P^"""
pin.)'"; »SsrLr„c<"r S 'sr^^'r"- ',■> <" •■
here = because. In ICiom ' '^ ''^ * subordmate clause, as
that. *" ^^^ '^''^ ^^'■•s* he also has the full form, for
"5- civil sayings, maxims of civilized life. Cf. ii. 7. 96.
is8
AS YOU LIKE IT.
[Act III.
I
117. crrinf, wandering, in the literal senie of Lat trrart.
113. sentence end. For the omisuon of the '* tee note oq
I. a. 140. It u common in diuyllablet ending in a sibilant. (AbK
laB. quinteasence. Over and above the four elements (fire, air
earth, and water), the medixval alchemisU figured a fifth essence'
futn/a essenha, or ether, purer even than fire. Thu quintessence ii
to the world as the spirit to the body. Hence it U use'' osely for
the concentrated essence of anything, perhaps with a cv ascd idea
that the name means " essence five times distilled ". For the accent
cf. Ben Jonsons dictum, "all nouns, both dissyllabic (if they be
sinaple ) and trisyllabic, are accented on the first". See Prosody
4a /3. •"
1*7. in little. From the number cf astrological allusions in th*^ -
verses ( quintessence', 'distilled', ' heavenly synod ') it is probable
that there is a reference here to the view of man as a microcosm or
epitome of the great worid. Cf. Hichard II., v. 5. 9, •' this little
world — ox his own mind.
130. wide-enlarged, spread through the world, till they are con-
cer/rated in Rosalind. Enlarge in Shakespeare is, regularly, not to
make large, but to set at large, to spread abroad.
131. With this eul<^ cf. Komeo and fuliet, ii. 4. 41 • " Laura to
his Udy was but a kitchen wench... D'ido a dowdy; Cleopatra a
gipsy; Helen and Hero hildings and harlots".
X3». Heien, the wife of Menelaus, and the mosi beaL*. 'i woman
yl ^^^^: . ^"' ^" <=""«^ °^ ^y P»n» and so caused the Trojan
War. Shakespeare introduces her in Troilus and Cressida.
133- Cleopatra, queen of Egypt in Julius Caesar's time. Her
beauty bewitched Antony, and nearly broke up the Roman Empire.
bhe IS the heroine of Shakespeare's Antony and Cleopatra.
134. Atalanta, according to Greek legend, challenged her suitors
to race with her. The prize was her hand; the penalty death.
/7>'P'^°';.!r"f* °"»stnpF«d her by dropping golden apples in her way.
(Ovid, Met. X. 562 &c.) What is her "better Jirt"? Not her
beauty, for Rosahnd a ready has " Helen's cheek "; nor her chastity,
for she has " Lucretia's modesty ". It is her speed for which she is
always celebrated in classical literature (cf. line 260 below), and
speed, or grace of motion, is a fitting attribute for one of Diana's
huntresses (cf. line 4 above). j
135- Lucretia, a Roman lady, dishonoured by Tarquin. She is
the heroine of Shakespeare's Rape of Lucrece. For sad and modtiiy
see Glossary.
• !*'• '^"? } *** "^*- -^^^^ (8 4'6) includes this among the
instances of construction changed for clearness". But the con-
struction can be explained historically. In M.E. the infinitive was
Seen* ».]
NOTES.
— . r~""t"c— rv^ mortturo, "the
alternate with any principal clauiJ rt n ' 7'" ~
%, 284), •' But on thi. 3 ion ,k'. ^' ^°" ^'*"- "
he not to follow her'" (k2S f 4^ ) "'*' ''°"°*
ofLtam-
him, and
tioi'iiKbre. So^rh'f&oli^o'^'fc SPedding'. en.enda.
emendation. Roialind .wear, bv Tun^»« -* "°* -bwlutely call for
4- 55- But "most gentle luoiL"^!' "' ^- h ""^ ^y W ii.
/«//«/^r cf. "moraler^-. OMirf 7 ',0^9: •'^f ^or tL forS
23. Shakeipeare manufactured' namVof I -T'^ ' ^'^^ ">• 6-
-toother noun... i„ the Iasre«mpll\tTJVr'Ltt^. "'''"«^
/... .s coined by Touchstonlt'tt a'Sio^Tf jl^;,"^ '' •^->
with more. But RosklSd fZMis^"^We7""= '•*''=" ^^"^ cSiJ
drops a very broad hint that SeaS Un^T^'^ ^elia (175)
restrain herself no longer; she iLsWes r. i?/''''?.1°-. ^*^" ^''^ "«
name, and gives her playful cou^n?fin, * ^''^<^e'nands for his
bant-r in wTlich she excels mZ ( T^PP^n'^g for that admiring
the name-Orlando, and is immedi/f/ll^ '""" 1.'?^^ ^'"» X'^Ws "p
torrent of questions As she ?s ^0^^^"*^'"'"*^ withanothe?
enters in person. '* ^^"'"S breath 10 reply, OrJ^n,;)
'55- without, outside.
judged by prosaic rules Cf thru''" '"^"".'' °' ^rden must not be
of olives'' fii. e 77^,^. * ''°"^" '" '^- 3- "3; and the "tuft
»nd ''nachroniL Uen tte'ed*?" "h' ^'"i'' o' inconlSena"^
«ld. explain the palm here « fh"^'' ''^ ^.^''"at'c purpose. (Some
"e still odled 'pC't Lmland.r ' . '^e catQ of whiTh
Ph'ipt"r!l^Sred°wul,Vh'^^ Pythagoras, an ancient Greek
"MOW.,... „., sr.ei5^.»2;s-L-^-4-™&:;
I
I30
AS YOU LIKE IT.
[Act III.
of Venice, iv. i. 131 : and Twelfth Night, iv, 2. S4-^2- that-
when (Abb. § 284).
i6a. an Irish rat. It was a current belief in Shakespeare's day
that Irish enchanters could rhyme rats to death.
163. Celia is still trying to provoke Rosalind's curiosity. " Is it
a man?" asks Rosalind coolly. But Celia has her revenge when
she mentions the chain. Cf. 1. 2. 211.
165. And a chain, with a chain. This use of ' and ' in answers
implies " Yes ", and adds something more.
168-170. " Friends may meet, but mountains never greet. " Ray's
Proverbs.
169. with earthquakes. In O.E. tnid (with) represents the
instrumental case; in M.E. it frequently introduces the agent (see
note on ii. i. 41); and in E.E. it is often used with agent or cause
where we now use ' by '. '
X76. out of all hooping, beyond all exclamations of surprise. Cf.
Henry V., ii. 2. 108, " That admiration did not hoop at them".
178. Good my complexion! Rosalind adjures her blushes not
to betray her. Cf. Celia's "Change you colour?" (line 176). For
the order of the words, cf. i. 2. i.
179. caparisoned : properly of horses: here used in comic exag-
geration.
180. One inch... South-sea of discovery, delay another minute
and I'll overwhelm you with an ocean of questions.
186. Is he of God's making? or his tailor's? (Wright.)
xgi. stay, wait for, as often in Shakespeare.
195- speak, sad brow and true maid, speak seriously, as you
are a true maid. Without the comma, brow and maid^xt accusative.
Cf. line 263 below, " I answer you right painted cloth ". With the
comma they are rather to be taken as vocatives.
aoo. Rosalind naturally thinks first of her dress. But only for a
moment. The thought that her lover is near, and that Celia has
seen him, expels everything but a desire to hear about him. Only
she wants to know "Did he ask for me?" forgetting in her excite-
ment that Orlando would not recognize Celia in her disguise.
aca. Wherein went he? how was he dressed? She thinks
about Orlando's clothes too. This use of "go in" is common in
Shakespeare.
203. parted... with, parted from. With is used, by a ?ort of
inversion, of separation from things or persons with which .ne has
been connected. We still ' part with ' things: in E.E. wii persons
as well.
W A
Scene a.]
NOTES,
»3>
»3«
who swallows fivrpifgrhSiThf 'a sSa^^r"" '' ^^^ P*"' '" Rabelais
tion of Rabelais in t^nglish, bu^a J wl "^ "" ^^^^ "° '^"^'a-
was very popular in the^6th centuV. "^ Gargantua
aog. catechism, catechising.
"3. atomies. n,otes. the Shakespearian forr. of....,
"5. observance, attention.
^^«i.^Celia enters into the spirit of the situation with her „,ock
-'^^'ctZ'tr^s^S^^^^ the natural „,eaning
224. For holla { = woa!) see Glossary.
ven?its'e"r„7anSr"woXay''""'K^ ''"P'^-^'« «"t-ent
irresistible, tendency in the miJd when fm^ ^ "!,'"*'' '"^ ^''"^st
feeling, to connect that feelinc^ wi/h - immersed m one strong
!f.(CoIeridge). Rosalind Seve^Sifr r"^ f^'"' "°""''
>t nses, and interprets it by her SiSt ^^' description as
wo"5leTSi;^ot°rdirw1s£T'''°"^"^='' '»''-''» -«h' (if you
"7. burden, refrain. See Glossary.
thes?;oSSl'inteSons and Vo Jfn'!!"? * "'J'*^ '""P^'^ent at
ness-" Sweet, say on ". Rosalind at once drops into tender-
of her lover, her first instinct when hi,.. T' *' '''^ *^ f"' "^ws
by". She is rewarded bj hWrin^ Wm n, ^
comfit the scoffer. ^ "earing him proclaim his love and dis-
ad&?o^"s:de'?irtre'?or«rL^^^ ^ ''^'^ ™-' -ent
and tells him so rather .^de?r Jaques hLT '"'''' "°^'''"g "^ ^im.
h« bnisque ways humoured by tV?Sest?r, ,'n/ •' 1"°'""'' ^" ^^^'^
own weapons when Orlando retorts. Itm.tfiL '^ «>aten with his
13a
AS YOU LIKE IT.
[Act III.
335. for fashion sake. The 's of the possessive is here omitted
for euphony. Cf. note on i. 2. 140.
837. God be wi* you: Ff. God buy you: Md.E. 'Good-bye'.
But Jaques does not go yet. He tries a parting shot, and, failing to
get the last word, returns to the fray.
239. On more and mce see Glossary.
252. rings: referring to the mottoes or 'posies' engraved on rings.
Cf. Merchant of Venice, v. i. 147, "a paltry ring... whose posy was
— ' Love me and leave me not * ."
253. I answer you right painted cloth. For the construction
cf. Othello, ii, 3. 281, "speak parrot", and Horace's W/a/vf Cydopa,
to dance the Cyclops. Hangings of painted canvas were used as
a substitute for tapestry. The subjecU were generally scriptural,
and ornamented with moral sayings.
*55- Jaques' compliment is meant for a flag of truce. He wants
some one to talk to. But Orlando doesn't want him; and their
repartees come down to plain " Fool ".
256. Again compare Jaques with Richard II. (iii. 2. 155)—
" For God's sake, let us sit upon the ground
And tell sad stories of the death of kings ".
And note the difference between the pathetic indulgence of the one
sentimentalist and the satirical indi.gence of the other.
258. breather, living being. For the formation cf. line 152 above.
This manly and characteristic utterance effectively marks the contrast
between Orlando and Jaques.
267. Jaques falls rather too easily into this obvious " booby-trap".
273-end. This is the proper climax of the scene and of the play.
From this point Rosalind is almost transformed. It is only the pre-
sence of Orlando which can evoke from her this dazzling play of wit
and fancy.
275. Orlando is naturally not in the bett of tempers after his en-
counter with Jaques. At Rosalind's saucy " Do you hear?" he turns
and answers somewhat drily — as man to boy—" Very well ".
279. Cf. Lodge: "for the sun and our stomachs are shepherds'
dials". ^
280. Rosalind at once starts the subject of love, eager to make
Orlando disclose to herself the passion he was not ashamed to own
to Jaques; but he takes up hei epigram by the other end.
281. Cf. Richard II., v. 5. 51..." My thoughts are minutes. ..the
sound that tells what hour it is Are clamorous groans ".
286. who... withal. IVho for ivAom is common when the govern-
ing word succeeds; not so common when it precedes.
Scene a.]
NOTES.
'33
may suppose (with Wri'lh ?tttl S t^'nT " '°° ^'^^'^^ ('MVe
uneasy j^ce. which malTes the joJrnev see- 1 ^^"' ??' ^ ^^' ^ut an
terms refer to speed. Or (2) that ?h^ »n!^v, ° • ^•. ^"' ^" 'he other
and the amble^nd that whU we t ' to fh" '%^'«'^en the tro
view ,s changed. The bride, foU of ho.t '^^g^»op the point of
lived seven years in a week the e«L '^ ^"'^ ^''*"' seems to have
tl^. ''^'^ "f ^ "« "e looking S^l"! r"' J^-dly feels £
15^ ,^- "°'^' ^^''^ ^^^"^ short fn pin" see^' I P^yS^oJogical fact
and w.^ z,^rja. The condemned E^lnU^ °P^ '" retrospect,
pHows approaching at lightnS^g speed ' rPf iv^ I?'^""^' ^^« »he
'ogy (p. 65) in the ^ncj^cTBr^^) ^ ^^^- ^^"^^ "''cle Psycho-
29a. a se'nnight, a week; cf. • a fortnight ' - ' . f . •
293. seven year Th" r ^^' " ^ ^^^'teen-night '.
mon in Shakespear; after'numerak 'ein^-^,'; ^°'' ^''^ ?'"«! ^^ com-
yu gar persons. "^ In O.E. cerSJn n;,,^ ^^"l"^ '" »he language of
'n«ht'. &c., had the sam'eS'Jn'iSh numbr'^'"' '"^ *>'-'.
^r.fh'S^^of^OxIS^^^ Chaucer
take". Cf. aIso>/,«, Sa^ i ^ ,oT^^^^^¥^*'> I ""de"
lean and hungry look. He thTnks ioo mud.' " °"^ ^^'"^ ^'^ ^
«pn£j^°gtyt;^ JX^h^ "^-''~' -^ erown inter-
sii^: S^'^hSTugly^Pfe^iJi P/"'"«t; ^^^ ,^™"^. suggested by
»omen. So Imogen S^7cL/,J^''^^^P^"^^ women^ talk liK
^ 3g -lisriou.: p,obabl,=Mo„gi„g ,o . „Ugi„„, „,,, „ ,.
'"oflov. This Urn. she's^SltrwoiT"""* ""■""-'■■
jf i»Sl?r.;,X''h^:^t'l''AT "•• S» I".roduo.io„ ...
we coinage. ^ *^*s much less uniformity in the rest of
»omenasSas7e"sl^n/edon°.^" ''" ^^^=^"^ ™ the faults of
»°ttobeputoflF. ''^'^"'^^°" the paces of Time. ButRoSis
134
AS YOU LIKE IT.
[A( ill.
331. fancy-monger, dealer in love. Compounds with -mottnr
have generally a contemptuous sense when usetl metaphorically.
333- quotidian, a fever or ague recurring daily, and supposed to
be a symptom of love. For the formation (Lat. cotidiana \_fehrh\
daily [fever], from cotidie, every day) cf. ' quartan ague ', an ajme re'
currmg every fourth day.
334-. love- shaked. This word shows that the "quotidian of
love IS thought of as a cold ague rather than as a fever. In the
p. part. Shakespeare has the weak form shaked, as well as shaken,
and shook. Shaked is found as early as Skelton and as late as the
loth century.
336. Orlando has said it : but Rosalind, eager to hear more, pre-
tends to doubt that he is in love, or that love is such a serious thing
at all. She calls it a cage of rushes, to indicate the flimsy nature of
Its bonds.
340. Rosalind throws herself with renewed zest into the description
of the disconsolate lover. Her inventory gives her an excuse for
noting Orlando's appearance, and answering to herself some of the
questions she poured out on Celia— " How looked he? Wherein
went he?"
340. a blue eye, i.e. blue round the lids.
341. unquestionable, averse to talk. Question often = conversa-
tion in E.E. Cf. iii. 4. 31; v, 4. 151. For the termination -able cf.
•disputable' (11. 5. 31), and note on ii. i. 46.
343- simply, without qualification, having, possession, as often
in Shakespeare.
.345. your bonnet unhanded. Bonnet in E.E. is synonymous
with hat. Hatbands were worn in various colours. With the whole
passage Malone compares Heywood's Fair Maid of the Exchange
(1637): "Shall I defy hatbands, and tread garters and shoe-strings
under my feet? &c"— a passage probably inspired by the present.
348. point -device, precise. See Glossary.
350. Orlando is serious now. The " Fair youth " of this line, as
compared with the "pretty youth" of line 317, shows his I'radual
change of demeanour towards Rosalind. In v. 4. 28 he says to the
Duke —
" My lord, the first time that I ever saw him
Methought he was a brother to your daughter ".
And though he certainly has no suspicion here as to who she really
is--a clumsy ingenuity of Gervinus's— the resemblance and the femi-
ninity of her charm win on him unawares.
f^u'V^^" *^ ^^ ^"* °^ ^^^^ <*»<*/« entendres in which so much
of the humour of the situation consists. But it is more than humorous.
It helps to relieve her own heart, and to encourage Orlando.
Scene 3.]
NOTES.
»35
afifl. moonish, variable like the moon
f4fh?rS rL;2tf TaierTS '^'"Z,'"'''^'^ - '-e. I
t >'.''« enough in sound for the inJie ?nH '■''^ ^'^f"^'' ^''^ ^'^'»£
thesis. Humour is used wJS TlthTtf-T ^T '° '^' '^n^'"
humour ' = silly whim: ' livinrhum3 -IT'J°" -^^ '^"^'^^ ''"a^
Cf. note on i. 2. 212. This olil =actual vem (of madness)
transition to its common mVde/n^^"^^^^^ l"^'^^ -""ks the
ing into vogue at this date. Ben w nf V?^T' -^ ^^''^ ^e^" ^om-
.« Ais Humour) after defining th"e t{ue senSs:"" '° ^"'''■^ ^'"'
"Nowifanideot
Scene 3.
136
AS YOU LIKK IT.
[Act III.
• . s
.-yrfc %
not
scrypture, be represented the wicked and reprobate, whose pastour
also must needes be such ".
3. feature, appearance in general (see Glossary). Audrey does
)t understand the Latin word, any more than she understands
poetical" (line 12 below). If there is any more recondite joke
it IS hopelessly lost.
4. warrant : see Glossary.
6. capricious (Lat. capra, she-goat) keeps up the pun on ji^on/s
and GotAs. Ovid was banished by Augustus to Tomi on the Euxine,
in the country of the GeUe, or Goths, as Shakespeare calls them,
7. ill-inhabited, having a bad habitation. Shakespeare's bold
formations in -ed have a twofold origin. The suffix is ( i ) adjectival,
(2) participial. {1) -eJ added to substantives connotes the possession
of that subsUntive: e^. 'charmed power', 'furred moss', &c. But
when there is no corresponding substantive (*.^. 'becomed love' =
becoming love), the form must be (2) participial, an instance of the
p. part, m active sense. This is a relic of the time when the part.
was indifferent as to voice (cf. Lat. cenatus, having supped), and
is proved for Shakespeare by the existence of forms in -en (e.g. ' for-
gotten '= forgetful) which cannot be adjectives, though used adjecti-
vally. The frequence of active forms in -ed as compared to those
in -en is due to the ambiguous nature of that suffix. (TI.e adjectival
-ed is probably in the last resort participial; cf. Lat. auritus, earedj
and Greek adjectives in -toi formed directly from nouns. )
7. Having failed to make anything of Orlando, Jaques has
attached himself to Touchstone, for whose sapient folly he has the
critical relish of the intellectual epicure.
8. Jove in a thatched house. Jupiter and Mercury, wander-
ing about in human figure, were hospitably received by Baucis
and Philemon, an old couple in Phrygia (Ovid, Met. viii. 630).
The story is told in English by Swift.
II. a great reckoning in a little room, a long bill in a poor
inn.
15. the truest poetry is ever the most feigning. Shake
speare s criticisms on his own art are interesting, even when made in
jest. Cf. Midsummer-Nigh fs Dream, v. i. 14
"And as imagination bodies forth
The forms of things unknown, the poet's pen
Turns them to shapes and gives to airy nothing
A local habitation and a name ".
Bacon, too, calls poetry "feigned history", and Sidney's view of it
IS the same.
17. Two constructions are confused { i ) ' may be said to be feigned' ;
(a) ' it may be said they do feign '.
Scene 3.]
NOTES.
>37
Jnal X7/.'jnner ' *""^'°'^' *° »»^«^ ««d« - in the conven.
kitchen" (U. no relish). P'""^"^' ^""<^' '« butter's nae
26. material, foil of matter, in the sense of ii. , 68
29. foul. Touchstone means ' dirty '. Audrey meani • plain '.
^^^^^^nSXS'^F^i^^^^^^^^ B.A..S. In
Cambridge Tripos lists; but X luie \^a?°?,''""^ ^!'" P/eserved in
pnests who had no de«ee (''^0^, Ini ^}T^ ^^ '^*= P°Pe to
Cf. Sir Nathaniel in Z<^?Jl^^^K;„^/?f^'» '\^X *"« ^^"ed).
mves', and Sir Topas in TwZ A^S f""^'' Evans in J/.^
below (line 72) Sir Oliver woSt.mfft. .^'"""V^hat Jaques says
the use of Dan and Dom b^^h «hh? • ? ^ ^?'/ hedge-pareon. Cf.
to clerics. ' ^^^ abbreviations of dominus. and applied
40. stagger, hesitate.
41. what though? what though it be so? Th;. .ii- • •
men after ./; .^. 'or if' (it be soT' which if (JlS t^" " ~'"-
42. necessary, unavoidable. See Glossary.
punctuation is Theo°lSH's. ^ *' ^°'^""' """ "^"'^ *"'" "»'<""• The
47- rascal, a deer out of season /«?»- r-i
to persons, the word has nowToTtn,! f .G'^^^T-) As applied
still means 'good for nofhrng^. ^ °^ "' *^°^°"'- I" E-E- it
51. defence, the art of self-defence
hiSelfr&chsto7e"f on t ' P"* °" ^""l ''^*- ^s an old courtier
and ap^li^zes fo? hS presS^t c^o^nL' "' ?' "^'^^ ^^ ^ gentleman.
•ttJJked '^^ °°' *''' ^'^^^^ ''^ '^^ fle»We collar to which it was
^^^X'^i^S.irr^S'i;.^:^''^' ^"«"^^' ^^e ^'con is the
4 ^H^lSsla^rSS'S'rsir dT^•'^ i"^^^^ ^o- this
m the mindlS, I am nSfsure t^tTJad^Si """" ' ""^ "°*
138
AS YOU LIKE IT.
[Act III.
,'i
'.i i
8a. This is a scrap of a ballad. In 1584, Richard Jones entered
the ballad, " Oh sweet Oliver, Leave me not behind thee ". The
names of Roland and Oliver, Charlemagne's peers, were popular in
ballad poetry.
86. wind, turn and go. See Glossary.
88. The marriage is deferred in order that Touchstone and
Audrey may form a fourth couple at the wedding in the last scene.
Scene 4.
This scene seems to \k laid on the morning after iii. 2. Rosalind
is really, anxiously, in love, and fretful at Orlando's non-appearance.
Celia assents with alacrity to all her reproaches till she drives
Rosalind into defending him, exaggerates her defence till Rosalind
comes back to reproaches, and protests her disbelief till the entrance
of Corin creates a diversion. The prose part is Shakespeare's own.
6. According to the physiognomy of that day the colour of the
hair was thought to denote the disposition; red hair inclining to
black was the index of a deceitful and malicious nature.
7. In old tapestries Judas was represented with a red beard. So
m Matthew Arnold's SaifU B randan: "Of hair that red and tufted
fell ".
13. holy bread: probably sacramental bread, though Barron
Field says it was " merely one of the ceremonies which Henry VIII. 's
Articles of Religion pronounced good and lawful ".
14. cast, left-off. If one may buy a pair of lips, one may buy
them at second-hand. The ludicrous expression is intentional. Ff. 2,
3, 4 read chast {i.e. chaste), an obvious correction by the editor.
15. Celia invents a new Order of nuns, to symbolize cold chastity,
23 a covered goblet. " A goblet with its cover on is a better
emblem of hollowness than with it off" (Deighton).
30. Perhaps Celia introduces this reference to the old Duke in-
tentionally, to turn the conversation from Orlando. Rosalind and
she had come to seek the Duke, but to reveal themselves as yet
would spoil everything. Rosalind's excuse is also Shakespeare's
apology for this little breach of faith. Cf. note on v. 2. 27.
37. traverse, across. The tilter tried to carry his lance fair upon
his adversary's shield, so that if broken it split lengthways. To
break it across implied awkwardness.
37. lover: in E.E. of either sex. We still speak of a " pair of
lovers ".
4»7end. In these lines Shakespeare has simply versified Lodge.
The incident now introduced comes considerably later in the novel,
after the arrival of Saladin and the rescue of Celia from the robbers.
(See Introduction III.) Shakespeare starts both the comic and the
Scene 5.]
NOTES.
«39
47. pale complexion
from the heart.
Sighing was believed to drain the blood
52. For the monosyllabic first foot. cf. ii. 4. 63. and Prosody, 3^^.
Scene 6.
Shakespeare still follows the novel pretty closelv TK . r
this episode he treats with a frppr hJ,,/ /c .^^^V- The rest of
A^^^/ he returns to thriSeni-of one woman Zhi"^ ■ '", ^'«"'/'*
another-and touches it to finer T^L^ rf "S- » '°''^ ^'^'^
^^'^A^. i. S> and iii. ,. OlivL d S s froS pkT"^">'u.^«'''/''^
dame from humble shepherdess Shll » ^•*''?^ ** high-born
so abruptly and naivdrnor .L fn v- . " "°^ ''''*^'°«^ ''" Pa«ion
finally throws awarthe^Dride of hrJ' ^^' a superior being: but
with equal abandon. ^ '"'^ ''"^ '=*"'*• '^"^ °flfe« herself
intLsS bj ?dditio"n of \' ""thr T'^ ^°"'' ^^ '^"-'^ f^'^-^
" ?f^r ^f '^ ^P°'^ * ^^^^ f° be a hangman
If hou be, do thy office in right form;
Fall down upon thy knees and ask forgiveness "
goes only with /tve/ fi^Xzi: , . . ^"'^' ^hen it properly
•ence diCntly and wi Te^d «tr^l°W.'"T' J° ^"^ ^^^^-"
few. ^' *^ '^^ **"^ay by the double meaning of
seLX^w'otiC^^^^^
"-13. that...who: see on iii. 4. 42. ^^.4, personifies.
and w°?n"v 2^ «^'°Th '^" «*"'.«'^ here, swoon in iv. 3. ,57.
tion. *• ^5- ^'^'^ pronunciation was in a state of transi-
I40
AS YOU LIKE IT.
[Act III.
sa. Fa reads lean but upon, to mend the metre. But a syllable
IS sometimes omitted in this place. See Prosody, 30/8.
aa. capable impressure, impression that can be perceived
LapabU is here passive = sensible: as in Hamlet, iii. 4. ia6, "His
form . .preaching to stones, Would make them capable", it is active -
•enUent. See Glossary.
a4. lome moment. With singular nouns of time, some= ' about
a , is not uncommon ; e.g. ' some hour hence ', ' seme minute '.
^ a6. nor... no. The double negative is especially common in this
3a- Disbelieving in a passion she has never felt, Phebe challences
her fate ; and deserves it. "
35.^ RoMlind has come meaning "to prove a busy actor in their
play , and her energetic performance shows her strong character in
a new light. In every line we feel the woman speaking, and speak-
mg to an inferior. No boy could scold a woman so. The plain-
directness of these home-thrusts is in marked contrast to her airy
manner with Orlando. •'
36. and all at once, and that too all in a breath.
. J^' ***\* ^'^ beauty. This is the sting of Rosalind's scolding:
do you thiSi^ your plainness an excuse for pride?' She repeats
the charge of ugliness again and again. Lines 46, 47 are not meant
for praise: Phebe certainly does not take them as a compliment (see
lines ia9, 130). The text is sound. ^
38, 39. "That is, without exciting any particular desire for light
to see it by (Moberly). "
43- sale-work, ready-made goods, as Wright says.
43. "Od's my little life. 'Od's is for ' God's '. Rosalind is fond
of these " pretty oaths ".
„ fV^ "^Jjese are meant for very rustic charms. Brunettes were
not the fa^ion in Shakespeare's day at the court of a fair-haired
Queen. Cf. Sonnet 127, " In the old age, black was not counted
feu and for the "cheek of cream", the scornful description of
Rosaline in Love's Labour's Lost, iii. 198, as
" A whitely wanton with a velvet brow.
With two pitch-balls stuck in her face for eyes".
47. bugle, a black glass bead. Here an adjective.
IT t?" f ?***"•*• ■^"'' originally locative (cf. 'enclose'), is used in
.-• _-?.^- r"°P"8 into any state. Cf. 'enfree', to set free ; 'engross',
to make fet.
50. The south
5a. Still addressed
the
rainy wind.
to Silvius. • But for fools like you, who think
A
Scene 3.]
NOTES.
I4t
liTuiry'Si^r"'" "°"'' "°' «'' --'^ -^ fi" the world
and 3rd per«>n. though^hranTe?edtTfs^s\':rrd7lS J'^r'*
"These eyes, these brows, were moulded oui of his". ' '°°'
61. cry the man mercy, beg his pardon.
6a. • Ugliness is ugliest in a scornful person.'
"She made good view of me; indeed, so much,
Sr ,h'fHT''''°u«^' ^" 'y^' ''^d '<^t her tongue,
l-or she did speak m starts distractedly"—
with Phebe's short and abrupt answers hi»r«. tk» f, •. r u
b given below, in her descri'ption ^f SoSund. ' ^'"" "^'^'' ^'""^
74- WTiy does Rosalind tell Phebe wher^ f« fl„ 1 i. r, /t^,
PrJLfy; 3^r^'"^ '''"'=*'^' ^" "^^^^ *'th » 'hyming couplet. See
80. shepherd: for poet, in the conventional pastoral manner
This convention is n regular use as earlv «« R.'rm ^'"™' ™^""er.
81. From Marlowe's /fero and Leander—
"Where both deliberate, the love is slight.
Who ever loved that loved not at first sight?"
(See Introduction, § 4. ) <^'''^' *^"'''^' ""^ 176. )
82-84. Observe the change in Phebe's manner to Silvius.
tu^; nff c-f "^ ^""^^^ P'^^^J''' " '°^e thy neighbour as thyself " She
iTL^SL^''""'' importunities with an ambTguity and a sUly jest-
not flatly denying h,m as before, since now shVhi need of hL
¥
143
AS YOU LIKE IT. [Act III. Sc. 5.
ga. ' And even now I do not actually Icvt you.'
93. Cf. what Orlando says, iv. i. 77, " I take some joy to say ynu
are, because I would be talVing of her ".
98-103. In these melodious lines, Shakespeare has expressed once
for all the spirit of the ' old dog'.
X02, 103. loose... A scattered smile. The metaphor of the
gleaner is kept up.
X08-134. These lines arc the dramatic equivalent of the famous
song m Lodge called RosalimVs Lacription — ("Like to the clear in
highest sphere"). Shakespeare contrives to give at once an ex-
quisite description of Rosalind's person and of the state of Phclie's
heart, vacillating as it is between passion and pride. Her resentment
is not all assumed, for some of Rosalind's taunts have gone home—
cf. 138-130. Observe how the uncomplimentary qualifications gradu-
ally sink, and pass into unreserved admiration.
X09. peevish, forward. See Glossary.
na. It is a pretty youth. Obsrve the contemptuous turn
given by the iV; but in a :ouple of lines, "/Ttr'U make a proper
man ".
xaa. mingled damask. Shakespeare uses damask in two slightly
different senses: (l) of lilood red, (3) of mingled red and white, as
here. In the first sense, he has in mind the damask rose ; in the
second, the varying shades of Damask silk. The damask rose is not
known to be variegated.
134. in parcels, piecemeal. See Glossary.
135. Phebe — unlike the Phoebe of the novel — deliberately deceives
Silvius. From this point onwards, Shakespeare treats the pastoral
sub-plot more freely, with a half-comic touch that is wanting in
Lodge. In Lodge, Phoebe falls sick of love : Montanus carries her
letter, though he suspects the contents, and actually intercedes fur
her with Ganymede.
xa8. what had he to do, what business had he.
130. I am remember'd, I recollect. See ii. 7. 189.
X3a. o- Ittance is no quittance : evidently a proverb— 'a debt
is not cancelled because you omit to exact it'. Cf. Milton, P. L,
^' 53» " Forbearance no acquittance ".
X35. straight, immediately.
1361 I37- A rhyme is probably intended.
137. passing: here an advb. — suri^assingly. SHakesppare also
uses it as an adj.
rii
Act IV. Sc. I.]
NOTES.
»43
Act IV.— Scene I.
Thii scene continues-after an intenal-the wooing proposed in
m. 2, and is conceived in much the same spirit. But t^eSWcv of
the lovers ha, made orogress in the meantime. In Lodge. theTik-
marnage. to which tfiis scene leads up, takes place immediatelJ^Ser
the wooing eclogue, and at the same meeting. '="««iy alter
I. Jaques, as usual, is in search of company.
This is the only direct encounter between Jaques and Rosalind
but It IS long enough to mark effectually the"^ contrast LtweTn his
affected melanchoy humour and her natural wit. Jaques' mann«
towards the disgjiised Rosalin?wi!?L°'^. M ™r'"**'°"- -^''^ The construction (reading
Zan adj. ' ^ ^ ^*'" rumination in which". Often is here use!
O^i^"'"*'' '^' ^"^■''*="'* •mH.nse' comes very near the
144
AS YOU LIKE IT.
[Act IV.
i I
I
I! I
I
A,
M
34. To Rosalind's healthy mJnn it seems that such experience as
Jaques' is not worth the price he has paid for it.
a8. An interesting line, as showing Shakespeare's consciousness of
the difference between prose and verse in dialc^e, for which see
Prosody 2. Cf. FalstafPs burlesque rise to verse in t Htnry /F.,
ii. 4. 431; g Henry IV., v. 3. 105.
ag. The Exit — not marked in Fi — is marked here in the other
folios. Rosalind punishes Orlando's unpunctuality by ignoring his
presence, and flinging taunts after the retreating Jaques.
30. lisp and wear strange suits. For similar attacks on con-
temporary affectations cf. Romeo and Juliet, ii. 4. 26, " The pox of
such antic, lisping, affecting fantasticoes"; and Merchant of Venice,
i. 2. 79, where Portia says of her English suitor, " How oddly he is
suited ! I think he bought his doublet in Italy, his round hose in
France, his bonnet in Germany, and his behaviour everywhere ".
31. disable, disparage: benefits, advantages.
33. Shakespeare knew this discontent in himself. Cf. Sonnet 29—
"Wishing me like to one more rich in hope,
Featured like him ".
34. swam in a gondola: i.e. been in Venice. Writers like
Ascham denounced Italy as a school of vice : the other si« Greek
classic story he was kinedhvl'^n ^fu'^^'A '''''' <^''""^* I"
lender's 7ramp.T invented LiS^^^^ ^'"^'?" j'"'^' «ke
common-sense. '"tented by Kosalmd in a spint of resolute
afttfapJo^fninil'fAbb^hlT''"" °^ \P'onoun. commonest
exclamatior-'Tfo/ liander'^\''l'"'f*',-^^"°"° •"'° '^ ^o" °f
the. Hellespont from Srand";?!" Hero If /'°^ ""'f
strait. Their storv is tolH in M 1 u w ° "*° '° swim the
Marlowe, and Jl^'pleted by?h?X.'' ''""^'" <'>' "^"^"'^^d by
veib/W°" Bum,, tJllTisT' n'^ ^"r"'^'''' '^"'"»« °f ^he
wouia only be oneio^ni^andT^X^^^^ " ''?"^V <*> *»>"«
for«,/r but crowner. '^' '*** Shakespearian form is not
reSe^heS'' '''"°'' '"'P"^^* ^^^^^^^ °»' °f her part, but she
•SgJaylTnd'r fu't^utsT "?\'i'- ^^« » "P'--^ -
feeUng ^ • ""' '' " '"^"•y ''g^t nonsense to cover real
pa« of Rosalind. "minence wtiich Shakespeare gives to the
ng. commission, your warrant for • taking' me to wife
wlitCei?a"h^uldhi?e5Sed. '"~"''^* '^^ **"" ^'^ anticipated
M'^^^^tt^.s^vrrndiz^^ "^•^'•"""' *"^'**^ '^y^'-
(Mr) y •
K
r
146
AS YOU LIKE IT.
fAct IV.
11! i
* ■ ,. ...,.
: J
131. a Barbary cock-pigeon. The epithet suggests oriental
jealousy (Furness).
13a. against, before, in expectation ot.
134. Diana in the fountain. See Introduction, § 4. But pro-
bably Shakespeare has no particular figure in mind. 'Weeping'
Dianas were a common ornament of fountains.
135. hyen, hyena, whose bark was thought to resemble a laugh.
"He Cometh to houses 6y night, and feineth mannes vqyce" (Bar-
tholomaeus).
138. AaoKhtx double entendre; but Orlando suspects nothing.
141. the wiser the wa}rwarder. Rosalind seems to agree with
the wife of Bath, that women love most " dominacioun ", and their
waywardness is only a contrivance to get their own way.
141. make, shut. Cf. German machen zu. The expression sur-
vives in Yorkshire and Leicestershire dialect.
146. A proverbial expression: 'What are you after?' Cf. i. 2.
40.
151. her husband's occasion, an occasion against her husband
(objective genitive) : rather than, occasioned by her husband.
156. This is unguarded tenderness, but Orlando takes it for good
acting, and his commonplace reply gives Rosalind time to resume
the boy.
165. See Introduction, § 4.
167. pathetical : a word (intentionally or unintentionally) mis-
used by Shakespeare for anything striking, shocking, 'awful'.
Armado and Costard use it (L. L. L. i. 2. 103; iv. i. 150). Perhaps
Shakespeare had no very definite notion of its meaning himself. See
note on anatomized, ii. 7. 56.
17a. religion, strict observance — the sense of 'binding' is the
original one.
174. A literal expansion of the phrase, " Time tries all".
176. misused, abused. In some of their senses ( ' reviling and
' maltreatii^ ') misuse and abuse have changed places in Modern
English. Cf. iii. 2. 338.
177. This is from Lodge— "And I pray you, quoth y^liena, if
your robes were off, what mettle are you made of that you are so
satirical against women? is it not a foul bird that defiles its own
nest?"... "Leave off, said Aliena, to taunt thus bitterly, or else
I'll pull off your page's apparel."
181. fathom. For this form of the plural, see note on iii. 2. 303.
183. the bay of Portugal, a name "still used by sailors toilenute
that portion of the sea off the coast of Portugal from Oporto to the
Scene a.]
NOTES.
»47
S"i "iSXX'S"- "• "«" "- » '4=0 «..ho«. d.^
i88. abuses, deceives. Cf. iii e 78 m •
blind. ^ • '"• 5- 7». Meaning that love is
191. shadow, a shady place.
Scene 2.
of SSnlo^Xnt:"' '"'"'"'^' ""'-^<^ to fi» »P the two hours
of Jv!iLoufgrn:;;r?rR°;^^^^^^^^^ t"-PhaI retu™
.^ great people-see.s to havTaXd^Vliii^slS^TIi^-
W i?Sl;fhe"!^Sof {;?S/'°^f^^^^^^^ a pun;
(Conc/usum), "and shook the WWthe^;,^"""^^' ^'^'"
dee'iand l^lm b^^^VX'^'^a^^^jJ ^1 ^^ "°"'^'^«' -"<^
thy fees was but the skin, the shourder.\°J'dr W''""^^ ' '°"'
^^^wS-tK-S^tEt^
13. Take thou no scorn, be not ashamed.
Scene 3.
fSaMe^s^SS^^^^^^^^^ 'etter brought by
Lodge closely in th?incidS.Lt/T;u^^*''?'P«?« still follows
Rosalind's reception of Phebe'Vl^H -^ ^^.l""^^^^ « inverted; (2)
Oliver is.made t^'o n^rmL'S ^wVSc'L^\1;f /Z^IT '^^^^^^^vedl (3
message « transferred (see IntrodJS!'§ 9" .)^'^^ °''^°" °^''"
a. here much Orlando! ironical.
4. Celia gives the sentence an unexnertprl t,,^ 1 y
-'to sleep'^instead of • to hunt" "P*^'*'* *"™ ("M 'fioaSoKta*)
". as, in the capacity of: almost tautologous.
^-^S'stSst^fer'^^^^^^ To cover
^ues in this strain while fS^ ^tE^ W.n ' k°"V'"*5' ''"^^ ^on-
■"■e 19 marks that she has reih^d the end. ' '^^^^^'^' *e" " of
fromtheVcJdini** S*^" tht .vf''' °^ "^^"^ '* *° ** understood
f ng cans . this Idiom is common in Greek.
'f
I
148
AS YOU LIKE IT.
[Act IV.
17. phoenix, a fabulous bird of Arabia. There was only one at a
time : it lived 500 years, and was re-born from its own ashes.
ao. In the novel, Rosalind, after reading the letter, leads Mon-
tanus to confess his love, and then shows that it is hopeless. Here,
she seems to wish to cure Silvius by rousing his indignation, if
possible.
25. freestone-colour'd, of a dirty brown.
37. a huswife's hand: i.e. hard with house-work.
ag. invention, conception. Cf. ii. 5. 43. hand, hand-writing,
with a pun.
31-36. Rosalind works up to a climax the picture of Ihebe's
imaginary scorn, and by the contrast brings out effectively the utter
abandon of her surrender.
34. giant-rude: oneof the compound adjectives freely coined by
Shakespeare. The first part of the compound has the force of an
adverb.
35. Bthiope : not elsewhere used as an adjective.
39. She Phebes me, plays the Phebe to me.
48. vengeance, mischief, not revenge: in this sense .commonly
used as a curse, " vengeance on you ".
49. Phebe, of course, means that Rosalind is a god.
50. eyne, eyes. Shakespeare uses this archaic plural only in
rhymed passages, as a conventional poetic form.
53. in mild aspect. Here, as in iii. 2. 136-149, the metaphor
is astrological: aspect = the appearance of a planet. For the accent,
see Prosody, 4 a /3.
59. youth and kind, youthful nature — a hendiadys: kind here
almost = sex.
61. make, produce by my work, earn.
65, 66. Celia's pity and Rosalind's indignation are equally charac-
teristic. To Rosalind's vigorous common-sense Silvius's hopeless
devotion seems unmanly, she herself being fortunate in love.
67. an instrument: in the twofold sense of a tool and a musical
instrument. The metaphor is worked out in Hamlet, iii. 2. 380-389,
•' You would play upon me ", &c.
69. a tame snake. ' Snake ' is a common expression of con-
tempt in E. E.
71. unless thou entreat for her. This in the novel Montanus
actually does. Silvius is now dismissed.
74. fair ones. If this is not a misprint, it is a curious slip on
Shakespeare's part.
isE
^M.1.
Scene 3.]
NOTES.
«49
77. neighbour bottom, neighbouring dell-subst. as adj
78. rank, row. See iii. 2. 85.
79. left is here a participle-being left.
85. favour, appearance. See Glossary.
85. bestows himself, behaves.
BuUhe''otiSo?o1tt?hKS th^H""' °'-^^^
See Prosody, 3 b /S. ^'' '^""S'' '*^«' « "ot unexlmpled.
hef'r^^l^S's^'LlltTSth.'^^"^^ *°^^'^' '" '''^-gular: in
9a. napkin, quit, equivalent to handkerchiefs E E
atiSn. '^«"«»''"«'»"- This spelling represents a common pronunci-
by'hVs o'in S^thSad'^of:^^^^^^ '°^ "f."^''"^ Oliver's rescue
and the snake ^oA^^^^^'Z^TiY^'T''' y:^ ':!'' "°"^«
the rescue on Oliver's w«W its effect n"J^^ « ?ge; 2) the effect of
is what Shakespeare is Wst int7r«» "i •TT^'"^ his 'conversion',
ensured by niak^ h m The n^^f '^Thi/^^^ ' *'?^ '^"^ « ^^^'
has always been r^rded « on^of^V^^*"', <^°"^ersion of Oliver's
it is made at leastTore plSsS bv Shr'"''""' ?°'"*' '" ^''^ P'^X'
ing. See Introduction, §9 Shakespeare's mdirect render-
cal"t^l5[e?"bune fijec^Sj^^tSn s^^^ "°' "-'^-
correction is Pone's rnm,tr» »k- '!'^o«e than superfluous. Th.
-1. I. 3.-3.rK\w^o7ffrefa^rr;^;e'2^^^^^^^^
det"?; ateS'Sy sJfk^slr^iofonfvT" "'^^ ^«"- T''^
Oliver, hut also to inSe ?h^ ^:.n i j^u " ^''"'^ com,)assion for
troduction, § 9 "^"^ '''^ ''^"eth of his wanderings. See In-
by'lhaklt^l""''" '"^ ^''^'^ '"'''' " ^ *"°'^^' ^^■'i detail added
ri^"of"tt*"slr^n?:'Sh.'" "'"'"''^ '"'=">»- °f ^^"^ «"--
of ;Je^^^: SSeSS^n^^. ^^^^' '^^ -^^"^ ''^^ "on
CO "°;saS'' "'"•^^ '" '^"^^ ^^'^ «'^^-dy been excited by Orlando's
wi. render, describe as.
'f
150
AS YOU LIKE IT. [Act IV. Sc. 3.
!* •.;.
"^i-.
124. But, to Orlando, but to come to Orlando. Rosalind is not
interested in Oliver's unnatural conduct; she wishes to know whether
Orlando has acted nobly or no.
ia6. This line represents a "med'Ution" of two pages in the
novel.
ia8. his just occasion, his fair chance of revenge.
X30. hurtling, crashing, din of fight. See Glossary.
131. Oliver's identity is naturally and effectively revealed by the
pronoun in the last line of his speech.
133. contrive, plot. The expression would now mean ' manage
to kill him'; but contiive in E.E. does not imply success.
X34. do not shame, am not ashamed.
X37. Again Rosalind recalls Oliver to the subject of Orlando.
138. In the novel, Rosader does not reveal who he is till Saladin
has made a fiill confession of his sins.
139. recountments, narratives: a noun coined from the verb,
but not elsewhere found in Shakespeare.
140. As, for instance. This, and not ' namely ', is the true
meaning here. Oliver breaks off with " In brief— ".
146. In the novel, Rosader is wounded in rescuing Alinda from
the robbers, and Saladin merely brings word of his convalescence.
The transference here enables Shakespeare to introduce the "bloody
napkin " and by means of it Rosalind s tell-tale swoon.
149. Brief, to be brief, recover'd, restored him (from his faint).
154. this blood: so F i. The other Ff. his blood.
156. sweet Ganymede : 158. Cousin Ganymede : Celia al-
most betrays Rosalind's secret in her alarm.
i6x. Rosalind's faint thus becomes an excuse for further intimacy
between Oliver and Celia.
X64. Ah, sirrah. The form sirrah usually implies disrespect;
but sometimes, when preceded by ah, it forms part of a solilixiuy,
and is little more than an exclamation.
X64. a body, a person. Thb use of body is now confined to dialect,
except in the compounds somebody, anybody, nobody; but was good
English in Shakespeare's time.
x68. a passion of earnest, a real attack. Passion is used more
widely in E. E. of any strong and over-mastering feeling.
X77. Oliver's significant " Rosalind " seems to show that he sus-
pects something. Remember thtt he knew of the princesses' flight.
But his suspicions are of no consequence, so long as he does not tell
Orlando.
f:H
Act V. Sc. I.]
NOTES.
Act V — Scene I.
iSi
.n?Orlan^^ n " ^""^ ^^^"^^ "f ^" ^^«^'«^' '^at between Oliver
" ^I^'^M.^^'y, °"«:,'no« revelation and one more reconciliation
"^ !1?^1 ,'° 'T-^'' all doubts even " ; but these are inevitably S
poned to he last scene. To this last scene the second is preiraK-
the third IS another of those short lyrical interludes whi?iTe™e S
there relieve the action; the first is a comic, almost farcical, prelude
which comes ,n aptly after the somewhat grave close of^fct IV
Kene * ^ transition to the jubilant and masque-like wedding!
10. it is meat and drink to me, ' ^' P^'^e-
57- seeks: singular verb after two subjects; cf. Abbot, § 336.
Scene 2.
This scene is wholly preparatory for the final recognition and de-
nouement in scene fourth. As such, it is somewhat bare and busi-
^ h. ''"' *' '^""i economical and clear. The composition of
tUe weddmg-scene is foreshadowed in the grace and balanced group-
ing of the close. ° ^
3. wooing: absolute participle, without noun.
»s«
AS YOU LIKE IT.
[Act V.
■li .« .
4^^-"-
.;
3. pentver: so regularly spelt and accented in Shakespeare.
8. The relations of the brothers are now so far inverted that
Oliver asks Orlando's consent to his marriage.
lo. estate, bestow. The offer ignores the Duke's seizure, but
serves as earnest of Oliver's conversion.
x6, 17. Rosalind calls Oliver ' brother ' as Celia's lover; he calls
her ' sister ' in reference to her masquerade.
ij. I know where you are, I know what you mean. Afraid.
perhaps, that Orlando may ask awkward questions about her swoon,
Kosahnd dashes characteristically into a humorously exaggerated
account of the idden attachment between Oliver and Celia. This
speech of hers is Shakespeare's apology for his treatirent of their
hasty wooing. In the novel it forms an episode of some length.
But Shakespeare probably felt that it would be hard to make it
probable or pleasing on the stage; he evades the difficulty, and
masks the weak place by the present speech.
29. thrasonical, vain-glorious. See Glossary.
ag. I came, saw, and overcame: vent, vidi, »»«— Caesar's
famous despatch after defeating Phamaces at Zela, B.C. 47. Shake-
speare seems to have been struck with it ; he quotes it in three other
places, giving the Latin in Z. L. L. iv. i. 68, and always translates as
here. No character in history interested him so much as "the hook-
nosed fellow of Rome ".
34. degrees : with a play on the literal sense of ' steps '.
35. incontinent, without delay. See Glossary.
31*. wrath, impetuosity, properly of combat— the lovers being
humorously represented as trying to get at each other. "Clubs,
clubs " was the rallying cry of the London prentices, who used these
weapons (they could not carry swords) to keep the peace, or to break
it. See Scott's Fortunes of Nigel, c. i.
38. The marriage of Oliver and Celia has been vigorously de-
nounced as an ugly concession to the practice of ' pairing off' the
characters. But the true bone of contention must be the reality of
Oliver's conversion, of which his marriage is the seal.
39- nuptial : so generally, perhaps always, in Shakespeare. This
word is properly an adj.
49. conceit, intelligence. See Glossary.
50. insomuch, inasmuch as, because — only here in Shakespeare.
55. conversed, associated. This is the common meaning in
Shakespeare, though he also uses it in the more limited modem sense.
55. Orlando in v. 4. 32 identifies this magician with the uncle
whom Rosalind had mentioned in iii. 2. 325. This may be a slip of
Shakespeare's. In Lodge, the magician is spoken of simply as a
• friend '.
Scene 3.]
NOTES.
SS3
56. See Introduction, 1 4. Rosalind's magician is a "white witch'
57- cnes it out. proclaims. For the use of it cf. i. 3 115
63. tender dearly, value highly. See Glossary,
onJj'to^e^''* '"''""" °^ ^"^'"^ *"^ Phebe, the dialogue rises at
^t^' f *'■«"'*"<:«. homage. In one or other of the linp,
i. i%!° ^*'''* ^°"' '^°'' '°^'"S >'°"-*''* gerundial infinitive. Cf.
f ,',1: '*'*l^-Ju°- ^° '^'^ ''«"°''5 corrected by Rowe to who to
for the sake of harmony. But no change is necessai^ ^^ '^
n,o^" '^-S "I'*. *^* howling of Irish wolves against the
TrX''^ r^ '"r^'?'^"^' .^"^ ^''•^ '"^y havf suggested the e".S"e?.
S„«5>i^ 1""^^'!? (asDeighton thinks) in the harshness of the IrLh
language. Ireland was much in men's minds at the time
Scene 3.
4. dishonest, immodest. See Glossary under honest
«n'./'?? '"*°, '* ^°""<^Jy. set about it straight away. From the
wd! :roE;?e;er;^ ^^ -^^'^ -''-^y forWa.iLd,^s;i^
of "^cC i°"^^?r^°*^"' °"'y '^' P'°'°e"^«- For the inversion
Th'/^?*' ^P '^^ ^°"°'' *''*^ '^* sta^^a of this song is printed second
WM^rf ^" ="-rangen.ent, which is obviously the right one is dven
H^ -^ ^A- I"''?d»ction, § 3), and in a MS. in the AdvoSIes"
Library m Edmburgh. The dislocation has-not been expUined
iS4
AS YOU LIKE IT.
[Act V.
17. the only pretty ting time, the season for marriage. F£
rtutgtime: corrected from the MS.
ao. acres : here, and generally in Shakespeare, in its literal sense
of 'fields'.
aa. foOn: fools in the MS.
aS. The MS. reads: Then pretty lovers take the time. The
moral of the dittjr is the same as that of the song in Twelfth Night—
" Youth's a stuff will not endure ".
3a-33. Instead of qualifyine his condemnation of the sense by
praise of the tune, as he leads them to expect, Touchstone iropd
xpofftoKltw condemns tune and all.
33. untuneable. Cowden-Clarke says that tutu and time were
once synonymous. At any rate, the pages defend their time, and so
lay themselves open to Touchstone once more.
Scene 4.
The conception of this scene is in the main original. The diver-
gence from Lodge in the matter of the usurper's conversion has been
noticed in the Introduction. In the novel, the most prominent
figure in the scene before the nuptials is Montanus ; in the play it is
Touchstone. The difference is characteristic. A good deal of un-
favourable criticism has been bestowed on the finish of the play : but
Shakespeare often prefers to touch in the denouement lightly,
though the execution here is scarcely in his best style.
4. 'As those who fear that their hope is only a hope, but know for
certain that they fear.' Various attempts have been made to emend
this difficult line ; but no change is necessary.
5. compact. For the accent, see Prosody, 4 a /9.
6. The arrangement and declaration on Orlando's part, here pre-
supposed, are first made at this point in the novel.
13, 14. This bargain (also presupposed) is made on an earlier
occasion in the novel, but is postponed till this point by Shakespeare,
in order to set it olT against the similar bargain with Orlando.
aa. or else... to wed. This is another instance of that absolute
use of the infinitive, explained in note to iii. 2. 151.
27. lively, life-like.
a8-34. This speech of Oriando's should settle at once the absurd
idea that he had recognized Rosalind.
33. desperate, dangerous, as tampering with forbidden arts.
34. obscured, hidden. The expression may have been suggested
by the invisibility of magicians within their charmed circles.
t m
Scene 4.]
NOTES.
IS5
35-97- The dramatic purpose of this comic dialojnie is eviden.lv
JO pve time for the prq^ration of the pageant wh.Tenters at Hne
35- toward, approaching.
ij8, "and now you will be my purgation". "" '*
43. measure, a stately dance, somewhat like a minuet.
45. and like, and was likely.
47. ta'en up, settled.
.u^*" J^"*^*",^'""^'* remarks have so far been addressed to Tafi.ie, i„
the independent tone of an eaual. 01«erve the sSL aXver
whelmmg deference with which he 'sirs' the Duke.
5a. God 'ild you: cf. iii. 3. 62.
5a. I desire you of the like, I wish the same to you. In E E
ieX?Sfh^ng'of7ou'.' '-''' >°" '^^ --thing',^as wefra^'Fi
53. copulatives, people wishing to be married. Such is the
brWhstoir'"'"" '"'= '"' '^' "°^^ '^ '^"•-^ f-" »« -nee
wi";m"tnd*tKr'°°'''^''^°PP^''^ '" ''^'^ ^^"^^ tojudgn.ent,
58. For this use of your =ts/e, see on iii. 2. 49.
v^S?' *5"/r*'* ''°uf- " ^ ^*^''^ •^'t » soon shot ", says the pro-
verb. A doU was a blunt arrow used for killing birds, &c.
for'^L'JSn!*"^"* **'"""• 'r°"«^''^'°n<^''' vocabulary is too much
64. a lie seven times removed. Malone's explanation-if it be
K r H *? •''^'"'" Touchstone-seems the rigSt on J The lS
n^!Vr '^^^?^ ^'""P^"'- 'he others are diluted forms of lie < re
moved from ,tm various degrees. In Touchstone's case, ^hequarlel
was found to originate in a mild contradiction-the RSort CourtSus
-seven Umes removed from the Lie Direct. 'courteous
65. seeming, seemingly, adj. for adv.
inp^miff '^ r' *'*P"^ ™y '?'*"''* °^- *°' similar changes of mean-
ng, from feehng to expression or action, cf. disaiU (linl 71 below)
to disparage; d,/j^ {Epilogtu, line 17), to dislike. ^ ''
156
AS YOU LIKE IT.
(Act V,
X
n >
^r
^ 1
i
-I i
70. quip, a jest at one's exi)ense. Milton's much-quoted "Qui|)»
and cranks and wanton wiles" has preserved the word to modern
English.
75. countercheck, rebuff: the metaphor is from chess (Wright).
8a Swords are measured before a duel, to find if they arc of e<|ual
length. Touchstone and his adversary measured them — and parted.
8a. Shakespeare is usually supposed to be referring here U> a
treatise on duelling by Vincentio baviolo (1595), the second book of
which deals with Jionor and honorahU Quarrels. But the resem-
blance between Touchstone's Lies and Saviolo's is not very close : if
Shakespeare had any particular book in view it may e<)ually well
have been, as Fumess thinks. The Book of Honor and Arms (I590).
83. books for good manners, books of etiquette. There were
many such then, as now — e.g. Whittinton's Lytle Booke of Good
Manersfor Chyldren (1554).
89. I knew. Modem usage would require the perfect.
ga. swore brothers. The expression alludes to the frahes
jurati (' sworn brothers ') of the days of chivalry — warriors who swore
to share each other's fortunes. A relic of the custom survives, says
Prof. Herford, in the German custom of Bruderschaft.
96. This characteristic oliservation of the Duke's reminds us of
the directly satirical intention of Touchstone's wit. It is a hit at a
contemporary affectation.
96. stalking-horse, a real or artificial horse, under cover of which
sjxirtsmen approached their game.
97. under the presentation, under cover, presenting it before
him. Theword is used in a somewhat different sense, 'show > < 'sub-
stance ', in Richard III. , iv. 4. 84.
Still Afusic], soft music.
98. Critics have objected to the introduction of Hymen as on a
different level of convention from the rest of the piece. But the
pageant, as Dr. Johnson (minted out, is contrived by Rosalind as the
magic machinery which restores her to her father.
xoo. atone, are at one. Shakespeare also uses the word transi-
tively, to reconcile. See Glossary.
105. her bosom,
do not understand.
The Folios and the Globe have his, which I
* ^4- Rosalind has been the moving spirit of the last three acts,
sustaining the dialogue and guiding the various strands of plot. Now
that she has made all doubts even, she gives herself to her father and
her lover, and says no more.
115. bar, prohibit.
11 M
Icen* 4.]
NOTES.
r
of H^Ii-. .„M ^?*l',.*™- «°n»"»«' if «™th be true. ThU .pm..
of Hymen s, and the following wng. have been suspected, but onno
evidence except their general feebfeneu. It must be admitted tha°
.M^srin 'the ve^"p:;r" " "°' "p '° '^' ^'''^ °^ '^' ^"" •«=♦••
124. to, for, as still in • have to wife '.
12$. sure together, a sure match.
ia7- wedlock-hymn. In Shakespeare's days music formed a
weS^k!"""' "*''^"* ■'""°' '*** "»""" °^ '*** 8°*'»' P''^'^*'* over
134- high, solemn.
^n.?«f^^*"//**'f •!****'• "y ''""ghter equally with Rosalind. The
W.rtivt'J -^' ^'*T''' ''. "'<^'* '" P'«« here than the ordinarj
^rective sense-" my mece. nay. my daughter "-though this Sk
J{L-I*'?[in'lf''f^ ;.'',"'" "'V°\l *° '•>'*"• f"°' this sense of
tmdttu -to bind, cf. Measure for Measure, iv. 3. 149. ««I am com-
bmed by a sacred vow". > »4y. 1 am com-
• ***r**.*j Attention has been called in the Introduction to this
miportant departure from the novel. The action has been steepJd
10 long in the atmosphere of Arden that an incursion of the evil
passions which dominate the first act would be felt as a grave breach
of harmony. One of the evil principles has already been reconciled
11^.''°"^""" °^ ^'I^!'' *"^ Shakespeare now eliminates the
other by similar means. The Duke's conversion is narrated, becaus^
It does not admit of dramatic treatment. Moreover, by b^ine ore-
r^^K\"l'"^"'^'''?'' "^^ ^"^^ » •'^P' «'"°»«. and feit only Ma
cloud that has passed away. Jaques de Boys merely discharges the
function of the aryeJ^ot of Greek tragedy. "arges me
^ M6- Address'd a mighty power, prepared a great force. See
147. in his own conduct, under his own leadership.
151. question, conversation.
ISX. was converted. A subject is supplied from line 149.
I54- all their lands restored. 'Were' may be supplied, but the
construction is probably nom. absol. i-k . "* "ic
156. engage, pledge. See Glossary.
. ?5fi- '[^* *K^'. ^^''f ^ccY,ii the return of fortune in the same
philosophic spint in which he endured adversity.
157. offer'st fairly, makest a handsome present.
158
AS YOU LIKE IT.
[Act V.
x6o. do those endi, accomplish those purposes.
i6a. every, every one. Cf. any as pronoun, i. 2. 119.
X63. shrewd, hard. See Glossary.
165. states, fortunes—' estates ' in the wider sense.
170. by your patience, by your leave. This sentence is ad-
dressed to the Duke.
17a. pompous, ceremonious.
X74. In this way Taques, like the usurper, though for a different
reason, is eliminated from the ' better world ' which the Duke's re-
turn inaugurates.
174. convertites: the E.E. form of ' converts '.
176. The real courtesy which prompts these good wishes forbids
us to take too harsh a view of Jaques. He is a gentleman spoiled.
His sarcasm is reserved for Touchstone, who is fair game.
176. You to your former honour I bequeath. Schmidt cites
this as an instance of a phrase in which the whole relation of ideas
is inverted = I bequeath your honour to you. Such inversion is
naturally most common in verbs of joining and separating.
177. deserves: c£ note on v. 1. 57.
EPILOGUE.
Spoken in his own person by the boy-actor who played Rosalind.
I. It is not the fashion, &c. Not before the Restoration was
It common to assign Prologue or Epilogue to characters in the play:
in the Tempest, however, the Epilogue is spoken by Prospero, and
in Airs Well by the King. For a female character to speak the
Prol(^e was a novelty in 1609: "A She-Prologue is as rare as a
usurer s alms". Prologue to Every Woman in Her Humour. {From
G. S. B. , The Prologue and Epilogue. )
a. unhandsome, in bad taste.
3. Good wine needs no bush. An ivy bush was the sign of a
vintner— ivy being sacred to Bacchus, the god of wine. The custom
still survives m parts of Germany; and in this country 'The Bush
Inn is still no uncommon name for a tavern. The proverb means
that good things don't need to be advertised.
7. insinuate, ingratiate myself.
10-14. The sense of this nonsense seems to be: let each one like
what pleases him or her, and so among you all the play will please
everybody. '^ ' ^
II. as please you. Please is subjunctive, used indefinitely after
relatives = as may please.
Epilogue.]
NOTES.
»S9
Feb. 27th of this year, As You Like It was pUyed in London bv a
company consisting entirely of women. •« TW general eff«J" «iH
the «w,pape«. "was less unpleasant th«, mght hlvVSn «
«h?; !?fi P'f^- P,"Pnally impersonal, hit OcdlS me, a uswre
which lasted mto the i6th century. 'Sence wo othere (if mSj
-other objects instead of it; but in ShakespSiJe i^the «S2^f
pUase the impersonal use is common; (2) 'fuke iX' ie^dt
pleasing-^ change of meaning helped by French Cf. >W
defied, disliked. See note on v. 4. 65.
!l
APPENDIX A.
HAD SHAKESPEARE READ THE COKE'S TALE?
Most critics think not. "Tlie old bard", says Farmer, "was no
hunter of MSS. ", and the Tale is not known to have been printed
till 1 721. It is no argument that Lodge had read it: Lodge was a
man of university training; he had been a servitor at Trinity College,
Oxford, and may there have acquired habits of research.
On the other side, Knight argues that Lodge's novel was written
at sea. Yet he follows the Tale so closely that we can hardly help
thinking (urges Knight) that Ae must have had a copy of it before him.
If this were so, then the Tale must have been more widely diffused
(in MS. or broadsheet) than is commonly imagined. We may,
therefore, give up our prejudice on that head, and judge the question
by the evidence.
The following are the chief points of comparison, and of these I
attach most importance to 3 and 6: —
1. Sir Johan is at first advised to leave all to hb eldest son.
2. ]Q\axi" feeds" (^^xti€iYa."yvd and eekwrothe". So Orlando says
that Oliver's horses "are fair with \^i
Toucbstone is Shakespeare's first essay in treating the professional
fool. He is a court jester, and in i. 2 he is still at court and labour-
ing in his vocation. It is not till he finds himself among rustics that
he begins to air his manners. " It is meat and drink to me to see
a clown." Mr. Fumess actually suggests that Shakespeare based
As You Like It on an older play, which crops out (he thmks) in this
scene (i. 2). But the scene s undoubtedly Shakespeare's, though
not perhaps in his best .nanuer ; and I can see no radical difference
between the humour of " pancakes and mustard" and the humour of
•'batlets and peascods".
It is not so easy to explain away (3). " Taller" can hardly be a
Crinter's error. The remarkable thing is that Shakespeare should
ave contradicted himself within 150 lines without noticing it. It
should be observed that all these (real or supposed) inconsistencies
occur in the first act, and all but two in the second scene of that act.
It is possible that Shakespeare may here have laid down his pen, and
resumed his work at a later date. No such careless touches mar
the forest scenes. It is on " the airy column", not on " the massive
pedestal" that he has lavished his care. In any case, he cannot have
revisf-d the play for the press. Other indications— remarked o;i the
rotes— seem to show that the text of 1623 was printed from a stage
vjpy.
. 1
NOTE ON SHAKESPEARE'S PROSODY.
' "°° "^ "^ yo". an you talk in blank verse
I. Definitions— Verse. Prose nio«u Tr
composition, a certain str,Js SSon fvn J*"*— '» '<«ding any
The succession of these stie^'^constiS^" VT""' '^^"^
the composition: when theHucceed e«rh ^t "^'^f ' ^^ ''°^' "^
regular intervals, they constitute S ^H th.^" *' ^f".^''^ «' >««)
f«-«. Ordinary Sh4espearian d alSu^f, ^^ composition is called
consists of s stressed alteSn? whhT.?„^. ""5° '?, * »«»'« ^h^ch
S^'""i'-'- °P«"'"e «" an TnSeisvnabM''' 'j"^-^h ^ '^'"8
Hence the name, Blank Verse. syllable), and without jhym^
a. More than half of As Vm r a r^ l
?nf' • Shakespeare's choice ofthe^ tw^ iZ'""'''." *""«» »
noteworthy. It is mainly deteminedhv 7^. "^ °^ expression is
characters speaking: (*) th^S- . ^'*? <=°'^derations: (a) the
situation. £ce ^r^slL nearer H.'^'^^^t °' '"^^^t of the
IS used (a) by clow^ns. semnTs Lid ij« Sl^T ^''^'"'^ '^''' '*
[6) whenever the interest i« mot^i *^°™"* .»" ramiliar conversation •
place Verse is a Se 'cereSSlrand"'"""'^^^^^^
speech, and so is used (a) bv nnwl conventional mode of
interest is mainly emoLS, LsSJate^^"'' ^^^ ^'^^'^^ 'he
present play, observe that Jal th^ 1 f * "^ ™ag»native. In the
talk ven*;, (he servams aiil'stfc ^rolf 'T^^^S lords generaii;
prose when alone, except inT f K ?o <.n5 '*k"'' ^"'^ ^elia talli
Silvius and Phebe, the idyllic chk™oti^ . ' '^''"^ ^« "ote. (^)
«one. Audrey, and wSSSm ife^Soi^T "^'^ ^^^^ ' Touch-
Silvius and prose to Touchstone R^c,? if " •^°"" "«« verse to
prose; JacqSes moralize fnSf^k feS?!'"'^ ' ^'"^ ^^'^ "« a» in
S ^treS??Snr;h7lm?nrh''^^^^ ""'^' '^'^"' ^'^ »o syllables.
*^'^y'*»'»»'«P'piness'.dearRo'salind'.
W "or??:wl^SLTs'^)tl^' °V-^ ™- - fewer syllables-
be inserted anywhere in a li^ ftt ""^ (unstressed) syllable may
a pause, and so is n^ost fr^,,.;*! S°™T"e*' ''""'«li»tely before
Such endings are Xd SS^^^^ '' '^^ ^"^ «f 'Ke
-pan a pecuii^ softness^rd^p;*!!!! ' ^J tT^^^U?;
H?
i.
*
■I i
i
i: ^j
164
AS YOU LIKE IT.
first lord's speech ii. i. 25-43. Two extra syllables are rarely found
at the end: perhaps iii. 5. 42 —
I see no more in you than in the ord | inary.
But (when there is no slurring) such instances should be classed as
6-stress lines. Within the hne, the extra syllable usually comes at
the caesura (see below), e.g:
And we will mend thy wa | ges. I like' | this place (iL 4. 88).
or with a change of speakers: e.^.
And faints for sue | cour.
Fair sir*, | I pity her (u. 4. 69).
Extra syllables are also common in proper names; thus, perhaps,
If there be truth in sight, you are my Ros i alind (v. 4. 109).
Indeed, Shakespeare sometimes treats proper names as altogether
extra-metrical.
(/3) Syllables omitted. An unstressed syllable is sometimes, though
rarely, omitted. This generally takes place after an emphatic mono-
syllable, usually an imperative; e.g.
Peace', I I saV. I Good e' | vsn to' | you, friend' (ii. 4. 63).
Bring' | us to'j this sight', | and you' | shall say' |
Some scar' \ of it'; | — lean' | upon' | a rush {iii. 5.
4- Sa)-
In all these cases there is a marked pause: hence this omission
is commonest in the first foot — compare the monosyllabic first feet
in Chaucer— and after that in the third. In our last instance,
modern editors read * lean but upon a rush '.
(b) (o) Extra stresses. Lines with 6 stresses (' Alexandrines ') are
occasionally found; e.g.
Besides', I like' you not'. If you' will know' my house' (iii. 5. 73).
This is the usual type of 6-stress line, with a pause after the third
foot.
So also ii. I. 49 and 52 (note that half of each line is Jacques'
reflection, half Amiens' description), iii. 3. 25, iii. 5. 117, &c.
(/3) Stresses omitted. Lines with 4 stresses, not being exclamatory
or broken lines, are very rare. But cf. —
Like a | ripe sis | ter :— ' | the woman low (iv. 3. 86).
This may be a true 4-stress line, with extra syllable at the mitl-
line pause, as (a) (o) above ; or the omission may lie compensatetl
by the strong pause. But genuine 4- and 6-stress lines can hardly be
regarded as mere variations of the ordinary pentameter. They arc
new metres, interspersed somewhat arbitranly at impressive turns
of the dialogue.
(7) But Shakespeare makes abundant use of short or broken
verses. They occur usually at the beginning or end of a speech,
when a speaker leaves off in the middle of a verse or interrujiis
another without regard to tlie metre. They sometimes occur in tlie
middle of a speech, when the speaker breaks off and resumes anew.
NOTE ON SHAKESPEARES PROSODY. ,65
M7i:x"&s;:' 1^1 1'°"/ 'v-i '^,'>^v>
the others in a sort of round ^''^^ '" '''•'^" "P by
^Many^apparent 4-stress lines are to be explained as two broken
^os. I have more cause.
Cei. Are you his brother f"^"*"" •""' "°'' ""*'" "• 3- 86;.
Was't you he rescued? (iv. 3. ,32).
Sometimes a part line seems to do double duty; e.^.
And let him feed.
0)J. I thank you most for him.
So had you need (ii. 7. 168-9)
So'h"' ^s" X?'' ''' """'^'^ ""^' ^"' ^^ ^" ^"™ -PP«d by ^^an.^
ani'^. J;SLt?ets?d"fK^^^ of 'stressed'
But stress is XiJuslv a master of H. ^''^'^''°" *.f^ exhaustive.
more than I ifne ?n J havl^a th? " exceedingly common-not
exercised under the ?olilwSgTals- ™'' ^ full stresses-but is
(1) The weak stress (') is commonest in the fifth foot; e.^.
And high top bald with dry antiq | uity' (iv. 3. ,04).
(2) There are never more than two weak stresses in a line
)^\ lr!°y'^\^^''^^^ rarely come together. ^•
tJm • r °^ ""'^'Sht is generally made up for (exceot in tbp fifth
IS VslSt ir- ^^^ ^"''^'■' '•'^ "ther^syliS^t "e }oo^'h2
I fly I thee', for' | I would not injure thee (iii. 5. 9).
or, one of the neighbouring feet has two stresses-
Will you' I go' sis' I terf Shepherd ply her hard (iii. 5. ,6)
may^bf infertTdb^^L'^fo'ot"'^^^^^^^ and unstressed syllables
boL risrllTiZ^^J^'' '*'"' '^'^'''^"B the rhythm (for th'at foot)
f!l ^r^'^if'i ''•«=,"«« of adversity (il. ,. „).
n Wh vX' ' ""* "L^ I, ''''' cheelT 'hi. 5 "'•].
f fuchEthio,>e words. | black'er | n their effect (iv , «)
(4) Afflict me with thy mocks, | pity | me no! (Hi: 5! 33^'
an^rf.Wy\^,^kirn Hne"St'''Se'^~'i'r KOni. would treat Adam's words as
which th Jcap ^cC^^i^'^ZrS.°r^J;^V^t^^:l^'' •"*'""•=" "^ """
ra-v.
i66
AS YOU LIKE IT.
Stress-invenion like stress-weakening is practised within certain
limits.
(1) It is commonest after a pause— i.^., in the first and after that
in the third and fourth feet. It is not often found in the second.
(2) It is very rare in the last place — there is no clear case of such
inversion in As You Like //—because a change of rhythm in that
place produces a halting effect Hence the name scazon ('limping ')
given to this metre in Greek.
(3) There are never more than two inversions in a line,— a
majority of inversions would alter the character of the rhythm, not
merely of the foot, but of the line.
(4) Two inversions rarely come together.
(/J) Under the conditions recorded above (b i) the two syllables of
a foot may have approximately equal stress, thus giving a level or
'spondaic' rhythm. This is occasionally found even in the fifth
foot; e^. —
More than your •nemies. , ,
Tis but a peevish boy; yet he | talks' well'
C*L Will you I go;, coz't (L a. aai).
UU- 5- J09)-
(rf) Rhsrme. — Shakespeare is very sparing of rhyme in As You
Like It. He employs it only in two closely related ways. ( I ) To
close a scene or speech. (2) To clinch an ailment. Thus (i)
scenes i. 2, i. 3, ii. 3, ii. 4, ii. 7, iii. 4, iii. 5, v. 4 end with rhymed
couplets; as also do speeches in ii. 3. 67, 68, iii. 5. 78, 79, v. 4.
166-169. In the last of these cases, as also in v. 4. 185-188, and
ii. 3. 69-end, we find sequences of two and four couplets. The first
two instances are appropriate to the closing scene ; the last is a series
of sententious reflections put into the mouth of old Adam, and is
connected with the second use of the rhymed couplet, (2) to clinch
a point. This naturally coincides very often with the end of a
speech, but is also found in other places, e.g. , Rosalind's
Cry the man mercv; love him; take his offer:
Foul is most foul, being foul to be a scoffer (iii. 5. 6i-j),
the proverbial turn of which may be compared with the rhyme in
i. 2. 253, 254.
APPARENT VARIATIONS.
4. Apparent variations, due to difference of pronunciation then and
now, are (a) Accentual (jb) Syllabic.
(a) Accentual Variations.— There has been little change in
the accentuation '-^ simple words ; but E. E. shows greater laxity in
the case of compoiotds.
(a) Germanic Compounds. — If the word is felt as compound it
is naturally accented on the important part. Thus verh-cQni|viiinds
are regularly accented on the verb, e.g., outface' (i. 3. 115); whereas
compounds of two prepositions, and pronominal compounds, in
NOTE ON SHAKESPEARE'S PROSODY. 167
7^%Sy r1 "i;! ^^!r "'"'i i-Portance. show no fixed rule :
&c. Poi'ibly w&^iii) X -^ ' '^'^^ ''"^ '^'^'^'^'''
pounds, and by analog,, in Xp le S S well ThLT^ShT"
speare we sometimes Sid the English accStJi-' W//ll^ f''^":
Utin. On the other hand wc find «,V fH, ,? ^ "'"v'l'? ^'''^
ISS). but also eyi/e; confin7/{Ti Si b '.L^ ^^ '""^"^ <^- -»-,
(iv. 3. 8), but also^.«S/a.i.^^;v ^^'^/^«>'^^' T"":'^
«W,... U4^'aLjaTtS'dr4itrefl%^,e^
Bui jus I tly, as | y^ve ex' | ceeded | all pro | mise.
^Sent'^cJt""' '^"^"^ "*^ ^ ™" '"*° °-' - '^^ -- or in
lusiPfVA«,5^ l^suDoM^melifh * "'y,«'«'" obligations to Prof. Herford;
matter. supplied me with countless suggestions, both as to form and
•The marie (.) under vowel shows that it is mute.
." s
l«
AS YOU LIKE IT.
..A^
X
•i:
(0 In the same word— d«w»Vw« (i. 2. 207), Amiens (ii. i. 29),
effigies (ii. 7. 193), executioner (iii. 5. 3), .S/Vi'iK/ (iii. 5. 84), but also
Silvi-MS (iiL S-^a); /iV*««j (ii. I, 40). being (ii. 7. 143, &c.), but
also be-ing; lineaments (in. 5. 56), virtuous (i. 3. 74), sinewy (ii. 2.
l4),/(m;«r (iii. 5. 29), voyage (ii. 7. 40 and v. 4. l8l), &c.
(2) In adjacent words— Mw* hadst (i. 2. 196), >»«< ^ar^ (i. 2. 208,
&c.), / iavtf (v. 4. 18), know it (ii. 7. 38), ///'wVr.
It will be seen that slurring is commonest, in both cases, when
the first vowel is i or m, which readily assume a consonantal jx)wcr
= y and w,
(3) On the other hand, the terminations -ion, -ience, &c., now
universally contracted, are frequently open in Shakespeare, «.^.,
conditi-on (i. 2. 230), intermissi-on (ii. 7. 32), observati-on (ii. 7. 41),
reputati-on (ii. 7. 152), a<-/«-fM (iv. 3. 9), &c; pati-ence (i. 3. 71).
In all these cases, except the third, the open i-on, i-ence is at the
end of a line.
(«) One of the most characteristic differences between Elizabethan
and modem oronounciation is the fluid state of the semi-vowels, or
•vowel-likes', /, m, «, r, and perhaps -ng. These letters may
exercise the fiinction either of vowels or consonants, e.g., in little
the first / is consonantal, the second vocalic. The sign (,) under the
letter is used to indicate the sonant (vocalic) value.
(1) A sonant liquid (/, m, p, x) may form a new syllable; e.g.,
wrestler (ii. 2. 13).
(2) A liquid may cause the loss of a syllable at the end of a word,
either by becoming consonantal before a following vowel, or hy
being slurred before a following consonant. E.g., given him
(=givnim) (i. 2. 204), sudden and quick (=suddnand quick (ii. 7.
151), complexiQn and (-complecshnand) (iii. 5. 115), brotho his
(=brothrts) (iv. 3. 119), hither / ( = hithri) (ii. 7. 195)— but see
below (f); perhaps too weeping into (3 syllables) (ii. i. 46).
Instances of slurred liquids are more numerous; e.g., heaven (i. 3.
97 and iii. 5. 58), bitter with him (3 syllables) (iii. 5. 138) father
the (2 syllables) (ii. 7. 196), newfalfn dignity (5 syllables) (v. 4.
166), victualled so (2 syllables) (v. 4. 182). This rule probably
applies to ii. 4. 69 —
And faints for succour. Fair sir, I pity her—
where there is a change of speakers (but see 3 (a) (o) above). So too
I would scan i. 3. 35 —
NOTE ON SHAKESPEARE'S PROSODY. ,69
And get | you from | our court |
Me', uii' I clef
Sellable'"' CL ^ "' "'""''^ ""^^*'''^' ''"^
You', I cousin—
cousiM is an extra mono-
Wedo
debate | ourselves | , co. sin. do I we not?
ilicA. II., iii. 3. ijy.
Je llforeTrl*" """S^nted vowel in the middle of a word
^L«I,^j , ""T"'' '* ^*=7 common before a liquid ^V'
witL';;e"miuo?tL^urfinr'Buf whi'^ '"■■"'""^ p^^'^'^^
Snd'fi^f ' 't^''^f'o'^-y> the caesura falli^Tio^ter'the
i^a ?h/ •.•^^"rT"°'°"y Shakespeare breaks up (i) by vari?
w^h the^H r °^ '*'" l^""'^' <^) ^y dispensing Sow and th7n
run on lines. There is eniambement in some d^ee wherever the
Sfh wlat^^^nr'' '^T'y'i' -''^VwithThat fonowshai!
le^nJc ^^u ^^'°''^- ^"' t*** Closeness of an enjambemen
orTr o T'LSl grammatical connexion, the importanc'e. and^the
wiucr 01 tne parts. The enjambements in As You Like It thnnrri,
•S""S,dr„"°,' ^'\ ■^"' '" ■"»" of ,h<£ .4 e ."?5
»S. ""''"P-l "» closinB on a conjunction, a prepSition a
^ts!,'j4str5j:i.°""' ■" '^'^ '" '"n-'i^o o,"ih:
I7»
AS YOU LIKE IT.
<■ . IK,
i
the chronology of Jhakespearc's writings: — (i) Rhyme, which he
affected leas and leu; (2) double-endings, and (3) enjambement,
which he affected more and more. Their value as chronological
tests is not equal ; it is lowest in the case of rhyme, which we nave
seen that Shakespeare uses consciously and for a special purpose;
highest in the case of enjambement, where it denotes a gradual
prowth of the rhythmical sense. More valuable than any, perhaps,
IS (4) the speech-ending test, based on the coincidence of speech-
endings with verse-endings, a coincidence which Shakespeare came
gradually to avoid.
The versification of As You Liki It has the geneml characteristics
of the middle period — rhymes are scarce, double-endings common,
&C., but the various tests yield no definite result. I give the per-
centages for As You Like It, Love's Labour's Lost (a typical early
play), and the Tempest (a typical late play) : —
L.L.L.
A. Y. L. I.
Temp.
Rhyme
62-2
.1:1
10
6-3
25-5
171
21-6
•|
Double-endings
Enjambements
Speech-endings
35 4
84-5
By the first test. As You Like It stands 14th in the list of plays;
by the second, 24th; by the third. T2th; by the fourth, 21st. We
can only say that, like Twelfth l^vght, it falls somewhere between
Romeo and luliet and Troilus and Cressida}
1 The figures in this section are taken from KOni^, Dtr Vtrt in Shaksfens
DramtH, ^ 130-138. Under the third test KOnig reckons only the more
marked enjambemenu, i.e., those in which enjambement is heightened by close
syntactical connexion or otherwise.
GLOSSARY.
*: •■. the indefinite article.
O.E. dn, one, differentiated into
oon, numeral, and an, article.
Note tb«e uses: (i) a=a. certain
I. 1. 106); (2) a=one, the same
('• 3- 67; V. 3. la).
•dd rw iad (v. 4. 146). prepared,
F. adresser; late Lat. adJirectidre
•°.™**e, straight, < directum.
straight. Hence (i) to put in order;
(3) to direct one's speech to: (is
to direct one-self to.
•dTtatnre (ii. 4. 41), chance.
O.K aventiire, Lat. adventura
\ns), a thing about to happen,
tut. part fem. of advenire, to
arrive. The spelling went back
to the Latin. For the meaning
c£ peradveH/urezzpcrhaps.
iJS®i?*^J'' '• 63). share.
PttJbably an English formation on
alio/; ^ry being added direct to
the verb. Only here.
« (»• 3- 175). if. Probably the
same as and co-ordinate. Skeat
refers it to Norse enda, but the
use probably arose independently
m English. Spelt and before 1600.
*°^ <'a ?; ^*S): still used as a
noun in E.E. 0. E. aenig is noun
or adj.
•rgomant: O.F, argument, Lat.
orgumentum. < arguere. to prove.
Hence ( I) Proof, reason (i. a. 245).
(a) Debate, arguing (i, a. 41). (3)
Subject of Aehaxcr-Henry l> ii
I. ai, " Arid sheathed their swords
^1^ °f argument ". (4) Object
Of debate or action in general (iii.
I- 3). In modern English the
word has been confined to the
onpnal Latin sense; but we still
JPwkof the '^gumenf. i.e. sub-
ject of a play, &c. '
171
D.~~*7**^ *• '"-^ ventured.
Properly rrw>. O.F. et' ' ^t
txagtum, ei^-.. .,;-. ., ,., ,.., . ,'
try. H'n(.. topjttoti.i t«'i .
attemp
The if veib is .
'ti .(1, it' I'' f ./ir.et
' It 01. •' , r -i.
.' use r {/,. r.
'S as bs
(Wright ). The ti ue sound of ' one '
nas also been preserved in alone.
attornty (iv. i. 81), proxy, o. F.
atoum,!, p. part, of atoumer. to
turn to appoint. Here in the
correct legal sense.
c,J!^**^i'';/- 5»)' fight; lit. to
strike a ball at tennis. Oriein
obscure. F. bander, "to bandie
at tennis (Cotgrave); perhaps f.
oande, a side.
5 '»*«<^0(v. I. SI), cudgelling.
Spanish bastonada, f baston, a
cudgel. Now generally of the
intern punishment of beatine the
soles of the feet.
batlet, or batler (ii. 4. 4c), »
beetle for beating clothes. The
tirst form is the diminutive olbat-
the second comes from battle (to
beat), + er of the instrument.
beholding (iv. i. 52), obliged.
A common E.E. corruption of p
part, beholden, from O. E. behea'-
72
AS YOU LIKE IT.
tution of the present part, for the
past "may have been due to a
notion that it meant ' looking to',
e.g. with respect or dependence".
Wd (v. a. 38), invite. O. E.
biddan. Not the same word as
' bid ', to order, which is from O. E.
beddan.
tx>b (ii. 7. 55), a jest. Lit. a rap.
Probably an onomatopoetic word,
from the sound of a smart tap.
Cf, the verb ^o^=strike with the
fist.
bonny (ii. 3. 8), big. Connected
with O. F. bon, good; but the for-
mation is unexplained. Generally
meaiu beautiful, but see note.
hraveryOi. 7. 80), finery. From
brave (F. brave) in the sense of
fine : cf. Sc. braw and braws.
bntwlt (ii. I. 33), runs noisily.
Not much before 1400. The origm
is unknown: it is not connected
with F. branler, which may, how-
ever, be the source of the noun
' brawl', i.e. a dance: "The grave
Lord Keeper led the brawls"
(Gray).
biirden(iii. a. a27), bass, under-
song, accompaniment. O.E. byr-
iSen, < beran, to bear. This
peculiar sense comes from con-
fusion with M. E. burdoun, F.
bourdon, bass [Lat. burdon-em,
dronej— from the notion that the
bass IS 'heavier' than the air.
Hence the sense of theme.
butchery (ii. 3. 27), shambles.
M.E. bocherie, O.F. bouckerie; -y
denotes place. The word is still
used of the slaughter-houses in
barracks or aboard ship.
capable (iii. 5. 23), perceptible
—through O. F. from Lat. capabil-
em, < capere, to catch. See note.
carlot(iii. 5. 107), peasant. A
diminutive — probably coined by
Shakespeare— of «^ar/ < O. E. carl,
man. From the soft form ceorl
comes churl, with a depreciation I
of meaning like that observed in
villain, q.v.
cater (ii. 3. 44), provide. .Short
for acater(ci. 'gainst, 'mongst, &c.),
O. F. achater (F. achettr), to buy ;
late Lat. ac-captare, to acquire,
< ad+captare, to catch.
chanticleer (ii. 7. 30), the cock.
Originally a proper name. O. F.
Chantecler (F. Chantedair), the
name of the cock in the famous
fabliau oi Reynard the Fox: nie.-in-
ing the clear-singer, < chanter, to
sing; -t-f/#r(F. clair), clear.
character (iii. 2. 6), write.
Through Lat. from Gk. x«j««Tii{,
a mark. Shakespeare uses the
verb always, and the noun gener-
ally, in the literal sense of writing;
even when metaphorically used,
' character ' is never applied! as now)
to inward qualities, but always to
outward expression.
cicatrice (iii. 5. 23). mark.
Properly, the scar of a wound;
Lat. cicatric-em.
civil (iii. 2. 115), civilized;
civility (ii. 7. 93), courtesy. These
words Lave a finer meaning in E. Ii.
than now, when they indicate
merely external politeness, the
absence of rudeness. From O. F.
civil, civility, Lat. civilis, civili-
tatem, of the qualities proper to a
citizen, civis.
conceit (ii. 6. 7), thought. An
English formation from conceive,
on the analogy of deceit f. dadve,
&c. Meaning (1) conception, (2)
private opinion, and so (3) an
overweening opinion of one s self.
The last meaning, the coninion
one now, never attaches to the
word in Shakespeare.
conned (iii. 2. 251), learned by
heart. Same word as can. O. E.
kunnan, to know or to bo able,
had two forms in the present, ic
can and ic con. These forms dif-
ferentiated (i) in meaning — fi2«
being limited to power, con to
knowledge; (3) in inflexion — in
GLOSSARY.
M.E. con becomes a regular verb,
the past could being reserved to
can Meaning (i) to know. (2) to
get to know. (3) to learn by heart.
««y (iii. a. 3n), rabbit. O.F.
contl, pi. conit, whence Ene
conys cony, < Lat. cuniculus.a.
rabbit. The name 'rabbit' was
onginally applied to the young
OOte (ii. 4. 77), cottage. O. E.
cote (fem.), a parallel form to cot
(neut.).
coostoiuuice (i. r. 15). bearing.
Late Lat. continentia, mien, carn-
age; hence (i) deportment, (2) the
face itse!f. From a similar trans-
ference and limitation of meanins-
compare /ai'wr, complexion, &%.
^On Walker's view, that the word
is here used in the sense of ■ allow-
ance , it would come from, or re-
present, the Lat. contenement-um
But see note.]
ooortenr (i. i. 39), customary
usage. O.F. cortesie. It. cortese,
courteous. The expression "cour-
tesy of nations" Ws gentium) re-
calls the legal sense of the word
usage not fixed by statute, e.e
courtesy of Scotland, &c.
C0« (i. a. i). short for 'cousin'
F. coustn ■ Late Lat. cosinus, cosso-
frenus, < Lat. consobrinus, cousin
by the mother's side (con + soror).
But the word was often used to
translate consanguineus, and so
was extended to other blood-rela-
tions, especially uncle, nephew,
and niece, (cf. i. 3. 35) and finally
used as a mere term of courtesy
(cf. 11. 7. 173). J'
curtle-ajte (i. 3. no), cutlass.
1 ne torm is a popular corruption
of cutlass, which in the i6th
century was spelt coutelase. whence
uie forms court leace and cuttleax ■
both parts of the word gettine
comipted. as if from curtal, short.
Md axe. Really it comes from
r. coutelas. Jrom couteau. Lat.
tuliell-um. knife.
»73
ni°^5 <•• »■ J»o). lamentation.
O.F. duel (Fr. deuil). < L. dolire.
to gneve. Cf. Scotch dule.
.nV^^^ . < viiftn, to write.
The formgraft, which Shakespeare
also uses, is corrupt, due to being
confused with the p. part, graffed.
hinda (i. i. 16), farm-servants.
M.E. hine, O.E. kina. a gen. pi.;
so that Mna stands for kina man,
one of the domestirs. The d is an
excrescence, as in snind, &c. The
meaning 'farm-servant' is still
common in Scotch.
bolla (iii. 2. 2-^4), stop! F.
kold, ho, there \ = ko + Id, there.
Not the sameasEng. kalloo. which
calls attention. Confusion has
produced the intennediate hol/o
and kalloa.
honest (i. a. 33, &c.), chaste.
O. F. koneste, Lat. honestus,
honourable, < konos, honour. In
Shakespeare note the meanings
(i) upright, hence Ao««/)'=; fair-
dealing in ii. 4. 85; (2) chaste,
modest — very comniun.
hooping (iii. 3. 177), shouting.
GLOSSARY.
^^„- ; • **?^' ^*- -*««<»•-
^»K?fl ^J^-r .^PP"«^ specially
to the fluids of the body.
tn^!S!"^,^'ij:- .3- '3o), dashing
together ^.E. AurtUn. frequent-
au^ of A.rt'^,. in the senseif 'to
{J^-3'' •3- ■*^'' ^'**'**- Short
.^.-^TV i" '** o"g">al sense of
pay . M.E j*/^,«, q.E. ^'.*WcJ?nE.E.stiLeS
?^j^»« of "s original sense of
fn^S?^S?i/"i-"^.3">' brought
forth. M.E. >t««rf/,«, to produce
from ktndel, diminutive of iind-
generally of a litter, e.g. of rabbits.'
/ i?*™.^^';, *; 4). teach. M. E.
Arr«*i,. p.E. /^<.r»ia«, to learn; a
neuter form sometimes confused
with the causative Uren. lairan, to
teach. (Cf.Ger./*r««and/,Ar;«)
nie confusion is reciprocal, /w/,
ixiing sometimes used reflexively =
5" •*'*'■• '^'^^'<. look. At first
used in a ^ood sense, but twice in
Skelton (time of Henry VIII.) of
uglylooks InShakespeare(i)look
m general, a) a winning ook.
Now a sly look.
Wb»t); ef. Ger. lieb. In Shake-
'75
speare only in "I had as IiW
;; My liefest liege ",5^^^''?/
^^erivationfroml!at.^:,<,^
Ueu (ii. 3. 65), return. Fr. litu.
Lat. locum, place. See note.
n.l?*^<"-7'94).drawn. Pro
perly illuminated '. M.E. limnen,
^9^^>*mtnen short for enluminen,
O.F. enlumtner. Lat. illuminare.
manaMji. r. „), training of a
(esp. ofhorses), Lat. manum, hani
metUe (ii. 7. 82), spirit. Samo
Sf^ '"^''•'' '''^ metaphor being
sw^d ^'"^'" °' '^^ *^'''' °^ *
f?m„ /i •'^- /»"/"•""-. to con-
temn Spen^r has mesjritezz con-
tempt) «x.
from f'l.Lat. /«//«^. to value
trom pre/turn, price.
f"^'"*^'"'- »■ 135). chastity,
^f^'i''- ^»- »*o^s/us. mea-
surable, from ««/«j, measure. For
the special sense, cf. Aonest above,
moe (iii. a. 341); more (iii. a.
wa (advb.), wor* from mdra (adi >
=greater. il/a was used as neut
noun followed by gen., i.e. more
of so and so. Hence Alexander
Oil s dictum that moe is comp. of
many , more of ' much '. In
Shakespeare's usage moe is always
followed by a plural.
mortal (ii. 4. 50), excessive.
Johnson suggests aconnection with
the vulgar.iww/:ra large quantity.
mntton (iii. 3. 50), sheep. O.F,
\ 'i
1
176
AS YOU LIKE IT.
mo/on (F. mouton), a sheep. In
M .E. after a time the French name
came to be reserved for the dead
meat, the English for the live ani-
mal — cf. boeuf, beef.
neoeaiuy (iii. 3. 43), unavoid-
able. O.F. necessaire, Lat. neces-
sarius. This is the proper Latin
sense; but Shakespeare also uses
the word in the looser modern
sense of ' needful '—useful, but not
indispensable.
n«w-faiigled(iv. i. 13a), fond of
what is new. The d is an excre-
scence. M.E. newe-fangel, O. E.
newe +fangel, «fee note. ^
(M7)
177
royniah (ii. 2. 8), scurvy. M.E.
rotgnous royne, O. F. roineux,
roigne, the mange.
sad (iii. 2. 13s), serious. O. E
w«f, sated. In M.E. and even in
t-.t. the sense is much wider than
now ranging from 'serious' to
solid .
■aM (ii. 7. 166), without. A
1-rench word, borrowedabout nco
and onginally used in French
phrases only_,a«, faille, sans
doute, &c Quite Anglicized at
one time, but now gone out.
Bavage (ii. 6. 6), wild-wuhout
any notion of 'ferocity'. Lit
living in the woods', M.E. saui'-
age, salvage, O.F. salvaee, Lat
silvattcum < silva, a wood.
Shrewd (v. 4. 163), hard, bitter.
Properly p. part, of shrevjen, to
curse, < schrewe, bad. The funda-
mental sense is 'biting', as in
feltirET"'^'' ^"'^ "''^ '^ ^*'"
8m^ ('• 3- 105), smear. A
weak form oismerk. extended from
M.E. smeren, O.E. smerien, to
smear.
, ■'°0"'«f (ji*- ^SZ'^- suffocating
smoke. M.E. smorthen, < O E
smornin, to stifle, Scotch smore.
WOth (iii. 2 364), truth. In
li.E. also an adj., and this is the
original sense: M.E. soth, O E
JtfS, truu; the neuter being used as
asubst.= a true thing.
O^j^i'" °" '^'''' ^"^^ fortune.
squandering (ii. 7. 57), hap-
^a.^^rd. A nasalized form of the
f » ^/'ff ^'■(Sc). originally to
scatter. Now confined to scatter-
ing money.
Btanso (ii. 5. i6), stanza. An
Italian loan-word, still new to
Shakespeare's ear; Low I,nt -.tan
tta, an abode, < stare, to stand •
nence, a pause in verse.
■Uit (i. 2. 312), see note. F.
M
ill
178
AS YOU LIKE IT.
suite, "a chase. ..also the train,
attendants, or followers of a great
person" (Cotgrave); Lat suta<
sequi, to follow.
■vaahiiig (i. 3. 113), swragger-
ing. Probably echoic, from the
sound of a noisy blow.
•ynod (iii. a. 147), council.
Through F. and Lat. from Gk.
riftitt, meeting, < rm + Mt, way.
The word is now confined to ec-
clesiastical councils, and in Shake-
speare, five times out of six, it is
used of councils of the gods.
taxation (i. x 73) ; taxiag (ii.
7. 86), censure, satire. O.Y.taxer,
to assess, Lat. taxare—tactare, to
handle < (actum, touch. From
rneaning 'to charge' it passes to
'he sense of 'charging' withcrimes,
ic. , and so of satirizing.
tender (v. 2. 63), value. A verb
ormed without change from the
ij. tender. F. tendre, Lat. ten-
'■um.
tbnuonioal (v. 3. 34), boastful.
An E. E. coinage, from Thraso,
:he braggart in the Eunuchusof
' rence.
tniTene (iii. 4. 37), cross-wise.
travet " (fem. ), Cat. transversa,
t .med across, < trans -f- vertere.
tzow (til. 3. 163), know. O.E.
trt\nman, to have trust in, <
tredwa, trust. Properly, to sup-
pose true.
amber (i. 3. 105), brown otiire.
F. ombre, short for terre d'ombre,
earth for shading. It. terradombra,
i^
V u
^ L
r .A, '■J
[ j r ^
U/ .Uu
V
■'iAx-->
^ '-^ ^'b.xlA^/
.^.. x^ -«^_/,^>- ^.
u-*.
>• -^v «
t( \*.. r
GENERAL INDEX.
active infinitive, i. 2. 96.
Adam, ii. i. 5.
adverb used with adjectival force, i. 2. u. no
alliteration, ii. i. 3. ^' "»
alliteration (vowel), il i. 31.
Arden, i. i. 100.
astrolc^cal allusion, iii. 2. 127.
Atalanta, iii. 2. 134.
" Barbaiy cock-pigeon ", iv. i. 31.
bay of Portugal, iv. i. 183.
bilingualism, i. i 59; ii. ,. 50; ii. 2. 20; ii. 3. 13.
"broken music", i. 3. 119. ^ *
classical allusions, i. a. 177; i. 3. ,, 68, 118; u. 4. i; UL 2 2 IM-
cC'S;,'ii: i",y:- ■• '^ *' '•• '• y- '■ - ^' ^ <■•''■ "^
Cupid, i. 3. I.
dativui commodi, ii. i. 21.
dativus ethicus, iii. 2. 83.
Diana, iii. 2. 2.; iv. i. 134.
double negative, i. i. 75; iii. 5. 26.
Dowden on Jaques, iv. i. 10.
extravagance of city dames, iL 7. 75.
fratres jurati, v. 4. 92.
Ganymede, i. 3. 118.
Gargantua, iii. 2. 206.
gerundial infinitive, i. i. 96; v. 2. 94.
"golden world", i. i. 105.
"good housewife Fortune", i. 2. 27
"good wine needs no bush", Epil. 3.
Helen, iii. 2, 132.
hendiadys, iv. 3. 59.
Hercules, i. 2. 177.
Hero, iv. i. 86-91.
Hesperie, ii 2. 10.
intransitive verb used as transitive, i. i. lod: iii e c
Irish rat, iii. 2. 162. *' ^'
insh Wolves, V. 2. 100.
Jaques compared with Richard II., ii. ,. 45; Xxx. 2. 256: with
Sterne, 11. i. 65 : contrteted with the Duke, ii. i. 26.
181
l82
AS YOU LIKE IT.
jest u expression of deep feeling, i. I. 48.
Jove's tree, iii. 2. 2 1 7.
Judas, iii. 4. 7.
Juno, i. 3-68; v^. 4. 131.
Jupiter, iL 4. i; iiL 3. 8.
Lady Martin on Le Beau, i. 2. 8a
Leander, iv. i. 86-91.
legal terms, ii 2. 3; iii 1. 17; iv. i. 81.
Lucretia, iii. 2. 135.
Marlowe, iii. 5. 00.
music of the spheres, ii. 7. 6.
omission of preposition, i. I. 16; i. 2. 7.
omission of relative (so-called), i. 2. 1 19.
omission of verb, i. I. II.
Ovid, iii. 3. 6.
pathetic fidlacy, L 3. 97.
••penalty of Adam , ii. I. 5.
phoenix, iv. 3. 7.
prolepsis, i. I. 32; ii. 7. 45, 132.
Pythagoras, iii. 3. 161.
quintain, i. 2. 217.
references to contemporary events, 1. 2. 77; ii. i. 57.
references to Lodge's novel, i. i. 45, 82, 95, 118; i. 2. 21, 106, 186,
189, 211, 243; i. 3. 33, 36, 73, 107; ii. I. 23; iii. 2. 150, 279;
iii. 4. 41; iii. 5. 108, 125; iv. I. 107, 177; iv. 3. II; iv. 3. 20,
71, 146; v. I. 32; v. 2. 27, 55; V. 4. 141.
scriptural allusions, ii. 3. 43; ii. 4. 4; ii. 5. 57; iiL I. 6.
Shakespeare and the doctrine of cycles, ii. 7. 139.
Shakespeare's authorities, Introa. pp. 12 seq.; pp. 160, l6x; his
belief in the "good old times , iL 3. 56; his contempt for
foreign fashions, ii. 5. 16 ; his contrast of Nature with other
powers of life, L 2. 35 ; his didactic manner, iL 3. 48 ; his epic
manner, iL 7. 65 ; his interest in ancient Rome, iv. 2. 3; v. 2.
29; his local colour, ii. 7. 148; iii. 2. 160; iiL 5. 74; iv. 3. 113;
his parodies, ii. 5. 46; his self-criticism, ii. i. 19; iii. 3. 15;
his similes, iii. 2. 35; his sympathy with animals, iL I. 38; hii>
treatment of time, i. I. 83; L 3. 64; ii. I. 2.
singular verb with plural subject, L 2. lOO.
superstition about the toad, ii. i. 18.
textual notes, L I, I, 85, 87; L 2. 3, 30, 38, 45, 71, 104, 140, 175,
238; L 3. 9, 90, 95; iL I, 5, 18; iL 3. 71 ; iL 4. 1, 34, 45; iL
7- 55. 73; »"• 2- 75. 81, 85, 92 142; iiL 4. 14; iiL 5. 22; iv. i.
17, 90; iv. 2. 12; iv. 3. 86, 103, 154; V. 3. 14, 17, 22, 28.
thou xadiyou, L I. 65.
transmigration of souls, iiL 2. 161.
Troilus, iv. I. 84.
women on the stage, Epil. 15.
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