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your brother marries Aliena, you shall 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,s and without any danger.

Orl. Speakest thou in sober meanings?

Ros. By my life, I do; which I tender dearly, though I say I am a magician: 6 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.

Enter SILVIUS and PHEBE. Look, here comes lover of mine, and a lover of hers.

Phe. Youth, you have done me much ungentleness, To show the letter that I writ to you.

Ros. I care not, if I have: it is my study,
To seem despiteful and ungentle to you:
You are there follow'd by a faithful shepherd;
Look upon him, love him; he worships you.

Phe. Good Shepherd, tell this youth what 'tis to love.

Sil. It is to be all made of sighs and tears;-
And so am I for Phebe.

Phe. And I for Ganymede.
Orl. And I for Rosalind.
Ros. And I for no woman.
Sil. It is to be all made of faith and service;
And so am I for Phebe.

Phe. And I for Ganymede.

5

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human as she is,] That is, not a phantom, but the real Rosalind, without any of the danger generally conceived to attend the rites of incantation. Fohnson.

6 - which I tender dearly, though I say I am a magician:] Though I pretend to be a magician, and therefore might be supposed able to elude death. Malone.

This explanation cannot be right, as no magician was ever supposed to possess the art of eluding death. Dr. Warburton properly remarks, that this play “ was written in King James's time, when there was a severe inquisition after witches and magicians.” It was natural therefore for one who called herself a magician, to allude to the danger, in which her avowal, had it been a serious one, would have involved her. Steevens.

bid your friends;] i. e. invite your friends. Reed. So, in Titus Andronicus:

“I am not bid to wait upon this bride.” Steevens.

Orl. And I for Rosalind.
Ros. And I for no woman.

Sil. It is to be all made of fantasy,
All made of passion, and all made of wishes;
All adoration, duty and observance,
All humbleness, all patience, and impatience,
All purity, all trial, all observance;
And so am I for Phebe.

Phe. And so am I for Ganymede.
Orl. And so am I for Rosalind.
Ros. And so am I for no woman.
Phe. If this be so, why blame you me to love you?

[To Ros. Sil. If this be so, why blame you me to love you?

[TO PHE. Orl. If this be so, why blame you me to love you? Ros. Who do you speak to.9 why blame you me to love

you?

Orl. To her, that is not here, nor doth not hear.

Ros. Pray you, no more of this; 'tis like the howling of Irish wolves against the moon. I will help you, [to Sıl.) if I can:- I would love you, [to PhE.) if I could.To-morrow meet me all together. I will marry you, (to Pne.) if ever I marry woman, and I'll be married to-morrow:-I will satisfy you, [to ORL.] if ever I satisfied man, and you shall be married to-morrow;-I will content you, [to Sil.) if what pleases you contents you, and you shall be married to-morrow. --As you [to ORL.] love Rosalind, meet;-as you (to Sil.] love

8 — all trial, all observance ;] I suspect our author wroteall obedience. It is highly probable that the compositor caught observance from the line above; and very unlikely that the same word should have been set down twice by Shakspeare so close to each other. Malone.

Read-obeisance. The word observance is evidently repeated by an error of the press. Ritson.

9 Who do you speak to,] Old copy-Why do you speak too. Corrected by Mr. Rowe. Malone.

1-'tis like the howling of Irish wolves against the moon.] This is borrowed from Lodge's Rosalynde, 1592: “I tell thee, Montanus, in courting Phæbe, thou barkest with the wolves of Syria, against the moone.” Malone.

Phebe, meet; And as I love no woman, I'll meet.
So, fare you well; I have left you commands.

Sil. I 'll not fail, if I live.
Phe.

Nor I.
Ori.

Nor I. [Exeunt.
SCENE III.

The same.

Enter ToucHSTONE and AUDREY. Touch. To-morrow is the joyful day, Audrey; to-more row will we be married.

Aud. I do desire it with all my heart: and I hope it is no dishonest desire, to desire to be a woman of the world.2 Here come two of the banished duke's pages.

Enter two Pages.
1 Page. Well met, honest gentleman.

Touch. By my troth, well met: Come, sit, sit, and a song 2 Page. We are for you: sit i' the middle.

1 Page. Shall we clap into 't roundly, without hawking, or spitting, or saying we are hoarse; which are the only prologues to a bad voice?

2 Page. I' faith, i' faith; and both in a tune, like two gypsies on a horse.

SONG.3

I.
It was a lover, and his lass,

With a hey, and a ho, and a hey nonino,
That o'er the green corn-field did pass

In the spring time, the only pretty rank time,
When birds do sing, hey ding a ding, ding ;
Sweet lovers love the spring.

2

a woman of the world.) To go to the world, is to be married. So, in Much Ado about Nothing: “ Thus (says Beatrice) every one goes to the world, but I.”

An anonymous writer supposes, that in this phrase there is an allusion to Saint Luke's Gospel, xx. 34: “ The children of this world marry, and are given in marriage.” Steevens.

3 The stanzas of this song are in all the editions evidently transposed: as I have regulated them, that which in the former copies was the second stanza is now the last.

11.

Between the acres of the rye,

With a hey, and a ho, and a hey nonino,
These pretty country folks would lie,

In spring time, &c.

III.

This carol they began that hour,

With a hey, and a ho, and a hey nonino,
How that a life was but a flower

In spring time, &c.

IV.

And therefore take the present time,

With a hey, and a ho, and a hey nonino;
For love is crowned with the prime

In spring time, &c. Touch. Truly, young gentlemen, though there was no great matter in the ditty, yet the note was very untuneable.5

4

The same transposition of these stanzas is made by Dr. Thirl. by, in a copy containing some notes on the margin, which I have perused by the favour of Sir Edward Walpole. Fohnson.

the only pretty rank time,] Thus the modern editors. The old copy

reads :

In the spring time, the onely pretty rang time. I think we should read:

In the spring time, the only pretty ring time. i. e. the aptest season for marriage; or, the word only, for the sake of equality of metre, may be omitted. Steevens.

The old copy reads-rang time. The emendation was made by Dr. Johnson. Mr. Pope and the three subsequent editors read-the pretty spring time. Mr. Steevens proposes-"ring time, i.e. the aptest season for marriage.” The passage does not deserve much consideration. Malone.

In confirmation of Mr. Steevens's reading, it appears from the old calendars that the spring was the season of marriage. Douce.

5 Truly, young gentlemen, though there was no great matter in the ditty, yet the note was very untuneable.] Though it is thus in all the printed copies, it is evident, from the sequel of the dialogue, that the poet wrote as I have reformed in my text, untimeable. Time and tune, are frequently misprinted for one another in the old editions of Shakspeare. Theobald.

This emendation is received, I think, very undeservedly, by Dr. Warburton. Fohnson.

The reply of the Page proves to me, beyond any possibility of doubt, that we ought to read untimeable, instead of untuneable,

1 Page. You are deceived, sir; we kept time, we lost not our time.

Touch. By my troth, yes; I count it but time lost to hear such a foolish song. God be with you; and God mend your voices! Come, Audrey.

[Exeunt. SCENE IV.

Another Part of the Forest.
Enter Duke senior, AMIENS, JAQUES, ORLANDO,

OLIVER, and CELIA.
Duke S. Dost thou believe, Orlando, that the boy
Can do all this that he hath promised?

Orl. I sometimes do believe, and sometimes do not ; As those that fear they hope, and know they fear.6

notwithstanding Johnson rejects the amendment as unnecessary. A mistake of a similar nature occurs in Twelfth Night.

M. Mason. The sense of the old reading seems to be Though the words of the song were trifling, the musick was not (as might have been expected) good enough to compensate their defect. Steevens.

6 As those that fear they hope, and know they fear. ] This strange nonsense should be read thus:

As those that fear their hap, and know their fear, 1. e. As those that fear the issue of a thing when they know their fear to be well grounded. Warburton.

The depravation of this line is evident, but I do not think the learned commentator's emendation very happy. I read thus:

As those that fear with hope, and hope with fear. Or thus, with less alteration :

As those that fear, they hope, and now they fear. Fohnson. The author of The Revisal would read:

As those that fear their hope, and know their fear. Steevens. Perhaps we might read:

As those that feign they hope, and know they fear. Blackstone. I would read: As those that fear, then hope: and know, then fear,

Musgrave. I have little doubt but it should run thus:

As those who fearing hope, and hoping fear. This strongly expresses the state of mind which Orlando was in at that time; and if the words fearing and hoping were contracted in the original copy, and written thus:---fear:-hops) a practice not unusual at this day) the g might easily have been mistaken for y, a common abbreviation of they. M. Mason,

I believe this line requires no other alteration than the addition of a semi-colon :

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