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ORL. I sometimes do believe, and sometimes do


not ;





As those that fear they hope, and know they fear.d 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

Enter RoSALIND, SILVIUS, and PHEDE. In the spring time, the only pretty ringa time, When birds do sing, hey ding a ding, ding;

Ros. Patience once more, whiles our compact Sweet lovers love the spring.

is urg'd: -
You say, if I bring in your Rosalind,

[To the Duke.

You will bestow her on Orlando here? Between the acres of the rye,

DUKE S. That would I, had I kingdoms to give With a hey, and a ho, and a hey nonino, with her. These pretty country-folks would lie

Ros. And you say, you will have her, when I In spring time, &c.

bring her?

[To ORLANDO. Orl. That would I, were I of all kingdoms king.

Ros. You say, you'll marry me, if I le This carol they began that hour,


[To PHEBE. With a hey, and a ho, and a hey nonino, PhE. That will I, should I die the hour after. How that a life was but a flower

Ros. But if you do refuse to marry me, In spring time, &c.

You'll give yourself to this most faithful shepherd ?

Pue. So is the bargain.

Ros. You say, that you'll have Phebe, if she will ? And therefore take the present time,

To Silvius. With a hey, and a ho, and a hey nonino ;

Sil. Though to have her and death were both For love is crowned with the prime

one thing. In spring time, &c.

Ros. I have promis'd to make all this matter Torch. Truly, young gentlemen, though there Keep you your word, o duke, to give your was no great matter in the ditty, yet the note

daughter; was very untuneable.


yours, Orlando, to receive his daughter :-1 Page. You are deceived, sir ; we kept time, | Keep you your word, Phebe, that you'll marry me; we lost not our time.

Or else, refusing me, to wed this shepherd :Toucı. By my troth, yes; I count it but time Keep your word, Silvius, that you'll marry hier, lost to hear such a foolish song. God be wi’ you ; If she refuse me :--and from hence I go, and God mend your voices ! Come, Audrey. To make these doubts all even.


[Exeunt Rosalind and CELIA. DUKE S. I do remember in this shepherd boy,

Some lively touches of my daughter's favour. SCENE IV.--Another part of the Forest. Orl. My lord, the first time that I ever saw

lim, Enler DUKE senior, AMIENS, JAQUES, ORLANDO, Methought he was a brother to your daughter; OLIVER, and CELIA.

But, my good lord, this boy is forest-born,

And hath been tutor'd in the rudiments DUKE S. Dost thou believe, Orlando, that the Of many desperate studies by his uncle, boy

Whom he reports to be a great magician, Can do all this that he hath promised ?

Obscured in the circle of this forest.


a Ring time,-) The old edition has "rang time;" the reading in the text was proposed by Steevens, and has since been found in a MS, copy of the song of the seventeenth century, formerly belonging to Mr. lleber, and now in the Advocates' Library, Edinburgh.

b And therefore take the present time, &c.] This is printed as the second stanza in the old text.

The note was very untuneable.) Theobald altered the last word to untimeable; and the same change is made by Mr. Collier's annotator; but time and lune were once synonymous.

d As those that fear they hope, and know they fear.) This line, not without reason, has been suspected of corruption, and innumerable emendations have been proposed ; of these it may be sufficient to particularize the suggestion of Johnson:

"As those that fear, they hope, and now they sear;" that of Heath:

"As those that fear their hope, and know their fear; ” and that of Mr. Collier's annotator :

"As those that fear lo hope, and know they fear." A somewhat similar form of expression is found in “ All's Well That Ends Well," Act II. Sc. 2 :

“But know I think, and think I know most sure.” e Whiles our compact is urg'd:] Mr. Collier's annotator needJessly changes ury'd to heard.

as you

JAQ. There is, surc, another flood toward, and he cut it to please himself: this is called the Quip
these couples are coming to the ark! Here comes molest. If again, it was not well cut, he disabled
a pair of very strange beasts, which in all tongues my judgment: this is called the Reply churlish.
are callel fools.

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 lie:

this is called the Countercheck quarrelsome : and

so to the* Lie circumstantial, and the Lie direct.

Jaq. And how oft did you say, his beard was not Toucur. Salutation and greeting to you all!

well cut? Jaq. Good my lord, bid him welcome. This Touch. I durst go no further than the Lie is the motley-minded gentleman, that I have so circumstantial, nor he durst not give me the Lie often met in the forest: he hath been a courtier, direct; and so we measured swords, and parted. he swears.

JAQ. Can you nominate in order now the deTouch. If any man doubt that, let him put me grees of the lie? to my purgation. I have trod a measure; I have Touch. O, sir, we quarrel in print, by the book,(1) flattered a lady; I have been politic with my friend, have books for good manners :(2) I will name smooth with mine enemy; I have undone three you the degrees. The first, the Retort courteous ; tailors ;

I have had four quarrels, and like to have the second, the Quip modest; the third, the Reply fought one.

churlish ; the fourth, the Reproof valiant; the fifth, JAR. And how was that ta’en up ?

the Countercheck quarrelsome; the sixth, the Lie Touch. Faith, we met, and found the quarrel with circumstance; the seventh, the Lie direct. All was upon the seventh cause.

these you may avoid, but the Lie direct; and you JAQ. How seventh cause ?—Good, my lord, like may avoid that too, with an If I knew when this fellow.

seven justices could not take up a quarrel; but when DUKE S. I like him


the parties were met themselves, one of them thought Touch. God’ild you," sir ; I desire you of the but of an If, as, If you said so, then I said so; and like. I

press in here, sir, amongst the rest of the they shook hands, and swore brothers. Your If is country copulatives, to swear and to forswear ; the only peace-maker; much virtue in If. according as marriage binds and blood breaks :- JAQ. Is not this a rare fellow, my lord ? he's as a poor virgin, sir, an ill-favoured thing, sir, but good at any thing, and yet a fool. mine own; a poor humour of mine, sir, to take DUKE S. IIe uses his folly like a stalking-horse, that that no man clse will. Rich honesty dwells and under the presentation of that, he shoots his wit. like a miser, sir, in a poor house, as your pearl in your foul oyster.

Still music.' Enter Hymen, leading RoSALIND DUKE S. By my faith, he is very swifte and

in woman's clothes; and CELIA. sententious. Torcii. According to the fool's bolt, sir, and

Hym. Then is there mirth in heaven, such dulcet diseases.

When earthly things made even, Jaq. But, for the seventh cause; how did you

Atone together. find the quarrel on the scventh cause ?

Good duke, receive thy daughter, Touch. Upon a lie seven times removed :

Il ymen from heaven brought her, bear your body more seeming, Audrey :

Yea, brought her hither, thus, sir. I did disliked the cut of a certain cour

That thou might'st join her t hand with tier's beard ; he sent me word, if I said his beard

his, was not cut well, he was in the mind it was: this

Whose heart within herť bosom is. is called the Retort courteous. If I sent him word Ros. To you I give myself, for I am yours. again, it was not well cut, he would send me word,


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a God 'ild you,-) God yield you, reward you.

b I desire you of the like ] For examples of this mode of construction, see note (a), p. 361, Vol. I.

c Swift-) See note (f), p. 714, Vol. I.

d I did dislike-] Dislike here imports not merely the entertaining an aversion, but the expressing it; so in “Measure for Measure." Act I. Sc. 2:—"I never heard any soldier dislike it." So, also, in Beaumont and Fletcher's “ Queen of Corinth," Act IV. Sc. 1:

-Has he familiarly
Disliked your yellow starch, or said your doublet
Was not exactly frenchitied?"

(*) First fulio omits, the.

(t) Old copy, his. e le disabled my judgment:) He disparaged, impugned my judgment; so in Act IV. Sc. 1:-"disable all the benefits of your own country.'

f Still music.] That is, soft, low, genlle music;-"then, calling softly to the Gentlemen who were witnesses about him, he hade them that they should command some still musicke to sound."-A Palterne of the painesull Adventures of Pericles, prince of Tyre, 1608., See note (a), p. 92.

& lIymen,-) “Rosalind is imagined by the rest of the company to be brought by enchantment, and is therefore introduced by a supposed aerial being in the character of Hymen."-Jonsson.

To you I give myself, for I am yours.

That bring these tidings to this fair assembly :

[To ORLANDO. Duke Frederick, hearing how that every day DUKE S. If there be truth in sight, you are my Men of great worth resorted to this forest, daughter.

Address’d“ a mighty power, which were on foot, ORL. If there be truth in sight, you are my In his own conduct, purposely to take Rosalind.

His brother here, and put him to the sword: Pue. If sight and shape be true,

And to the skirts of this wild wood he came, Why then, --my love adieu !

Where meeting with an old religious man, Ros. I'll have no father, if you be not he:- After some question with him, was converted

[To Duke S. Both from his enterprize and from the world : I'll have no husband, if you be not he:

His crown bequeathing to his banish'd brother,

[To ORLANDO. And all their lands restor'd to them * again Nor ne'er wed woman, if you be not she.

That were with him exild. This to be true,

[To PHEBE. I do engage my life. Hym. Peace, ho! I bar confusion :

DUKE S. Welcome, young man ; 'Tis I must make conclusion

Thou offer’st fairly to thy brothers' wedding :
Of these most strange events :

To one, his lands withheld; and to the other,
Here's eight that must take hands, A land itself at large, a potent dukedom.
To join in Hymen's bands,

First, in this forest, let us do those ends
If truth holds true contents.

That here were well begun and well begot:
You and you no cross shall part:

And after, every of this happy number, [To ORLANDO and ROSALIND. That have endur'd shrewd days and nights with us, You and you are heart in heart:

Shall share the good of our returned fortune, [TO OLIVER and CELIA. According to the measure of their states. You To Puebe.] to his love must accord, Meantime, forget this new-fall’n dignity, Or have a woman to your lord :

And fall into our rustic revelry:You and you are sure together,

Play, music !—and you, brides and bridegrooms all, [To TOUCHSTONE and AUDREY. With measure heap'd in joy, to the measures fall. As the winter to foul weather.

JAQ. Sir, by your patience.—If I heard you Whiles a wedlock-hymn we sing,

rightly, Feed yourselves with questioning;

The duke hath put on a religious life, That reason wonder may diminish,

And thrown into neglect the pompous

court? How thus we met, and these things finish. JAQ. DE B. He hath.

JAQ. To him will I: out of these convertites SONG.

There is much matter to be heard and learn’d.Wedding is great Juno's crown;

You [T. DUKE S.] to your former honour I

O blessed bond of board and bed !
Tis Hymen peoples every town ;

Your patience and your virtue well deserves it:-
High wedlock, then, be honoured :

You [To ORLANDO.] to a love, that your true faith

doth merit:Honour, high honour and renown,

Callies :To Hymen, god of every town!

You [ To Oliver.) to your land, and love, and great

You [To Silvius.] to a long and well deserved DUKE S. O my dear niece, welcome thou art to me!

And you [To TouchstoNE.] to wrangling; for thy Even daughter, welcome in no less degree.

loving voyage

[sures; PhE. I will not eat my word; now thou art Is but for two months victuall’d.—So to your pleamine;

I am for other than for dancing measures. Thy faith my fancy to thee doth combine.

DUKE S. Stay, Jaques, stay.
[To SILVIUS. JAQ. To see no pastime I :—what you would

Enter JAQUES DE Bois.
I'll stay to know at your abandon’d cave.


DUKE S. Proceed, proceed : we will begin these JAQ. DE B. Let me have audience for a word,

rites, or two;

As we do trust they'll end, in true delights. I am the second son of old sir Roland,

[4 dance.

bed ;

a Address'd-] Prepared.

(*) Old text, him.


Ros. It is not the fashion to see the lady the for the love you bear to men, to like as much of epilogue; but it is no more unhandsome, than to see this play as please you: and I charge you, O men, the lord the prologue. If it be true, that good wine for the love you bear to women, (as I perceive by needs no bush, (1) 'tis true, that a good play needs your simpering, none of you hates them,) that no epilogue : yet to good wine they do use good between you and the women the play may please. bushes; and good plays prove the better by the help If I were a woman, I would kiss as many of you as of good epilogues. What a case am I in, then, that had beards tliat pleased me, complexions that liked am neither a good epilogue, nor cannot insinuate me, and breaths that I defied not : and, I am sure, with you in the behalf of a good play! I am not as many as have good beards, or good faces, or furnished like a beggar, therefore to beg will not sweet breaths, will, for my kind offer, when I make become me: my way is, to conjure you, and I'll curtsy, bid me farewell. begin with the women. I charge you, O women,


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(1) SCENE I. -And so, God keep your rorship!] In Lolge's novel the complot between Saladyne (the Oliver of the play) and the wrestler is related as follows :-"A champion there was to stand against all commers, a Norman, a man of tall stature and of great strength; so valiant, that in many such conflicts he alwaies bare away the victorie, not onely overthrowing them which hee incountred, but often with the weight of his bodie killing them outright. Saladyne hearing of this, thinking now not to let the ball fal to the ground, but to take opportunitie by the forehead, first by secret meanes convented with the Norman, and procured him with rich rewarıls to sweare, that if Rosader came within his clawes hee would never more return to quarrel with Saladyne for his possessions. The Norman desirous of pelfe, as (quis nisi mentis ivops oblatum repuit aurum) taking great gifts for litle yols, tooke the crownes of Saladyne to performe the stratagem."—ROSALYNDE. Euphues' Golden Legacy, &c. reprinted by Mr. Collier in his Shukespeare's Library.

(2) SCENE II.-Charles is throun.] In the novel, after an account of the Norman's victory over the poor Franklin's two sons, both of whom are killed, Rosader's (Orlando) encounter with the “bony prizer" is thus described :“ With that Rosarler vailed bonnet to the king, and lightly leapt within the lists, where noting more the companie then the combatant, he cast his eye upon the troupe of ladies that glistered there lyke the starres of heaven; but at last Love willing to make him as amorous as hee was valiant, presented him with the sight of Rosalynd, whoso almirable beautic so inveagled the eye of Rosader, that forgetting himselfe, he stood and fedde his lookes on the favour of Rosalyndes face ; which shee perceiving, blusht, which was such a doubling of her beauteous excellence, that the bashful redde of Aurora at the sight of unacquainted Phaeton, was not halfe so glorious. The Normane, seeing this young gentleman fettered in the lookes of the larlyes drave him out of his inemento with a shake by the shoulder. Rosadler looking backe with an angrie frowne, as if hee had been wakened from some plcasa unt dreame, discovered to all by the furye of his countenance that hee was a man of some high thoughts; but when they all noted his youth, and the sweetnesse of his visage, with a general applause of favours, they grieved that so goodly a yoong man should venture in so base an action; but seeing it were to his dishonour to hinder him from his enterprize, they wisht him to bee graced with the palme of victorie. After Rosader was thus called out of his memento by the Norman, he roughly clapt to him with so fierce an incorinter, that they both fel to the ground, and with the violence of the fal were forced to breathe : in which space the Norman called to mindle by all tokens, that this was hee whom Saladyne had appoynted him to kil; which conjecture made him stretch every limbe, and try every sinew, that working his death hee might recover the golde which so bountifuly was promised him. On the contrary part, Rosader while he breathed was not idle, but stil cast his eye upon Rosalynde, who to incourage him with a favour, lent him such an amorous looke, as might have made the most coward desperate : which glance of Rosalynd so fiered the passionate lesires of Rosader, that turning to the Norman hee ranno upon him and braved him with a strong encounter. The Norman received him as valiantly, that there was a sore combat, hard to judge

on whose side fortune would be prodigal. At last Rosader,
calling to minde the beautie of his new mistresse, the
fame of his fathers honours, and the disgrace that should
fal to his house by his misfortune, rowsed himselfo anel
threw the Norman against the ground, falling uppon his
chest with so willing a weight, that the Norman yielded
nature her due and Rosader the victorie."---Ibid. p. 20.
(3) SCENE II.-

Ny betler parts
Are all throun down; and that which kere stands up,

Is but a quintain, a mere lifiless block.] Much has been written on the origin and use of the quintain. The following is the account of it by Strutt in his “Sports and Pastimes :” those who seck for further information on the subject may consult advantageously the notes appended to this play in the Variorum Edition :

Tilting or combating at the quintain is certainly a military exercise of high antiquity, and antecedent, I doubt not, to the justs and tournaments. The quintain originally was nothing more than the trunk of a tree or post set up for the practice of the tyros in chivalry. Afterward a staff or spear was fixed in the earth, and a shield being hung upon it, was the mark to strike at: the dexterity of the performer consisted in smiting the shielel in such a manner as to break the ligatures and bear it to the ground. In process of time this diversion was improved, and instead of the staff and shield the resemblance of a human figure carved in wood was introduced. To render the appearance of this figure more formidable, it was generally made in the likeness of a Turk or a Saracen, armed at all points, bearing a shield upon his left arm, and brandishing a club or a sabre with his right. Hence this exercise was called hy the Italians, running at the armed man or at the Saracen.' The quintain thus fashioned was placed upon a pivot, and so contrived as to move round with facility. In running at this tigure, it was necessary for tho horseman to direct his lance with great adroitness, and make his stroke upon the forehead between the eyes or upon the nose ; for if he struck wide of those parts, especially upon the shield, the quintain turned about with much velocity, and, in case he was not exceedingly careful, would give him a serere blow upon the back with tho wooden sabre held in the right hand, which was considered as highly disgraceful to the performer, while it excited tho laughter and ridicule of the spectators.” To this descrip)tion of quintain there can be little doubt Shakespeare refers in Orlando's speech. (4) SCENE III.

And wher'esoe'crre rent, like Jino's stans,

Still re rrent coupled and inseparable.] Compare this brief but affecting appeal with that of Celia's prototype, Alinda, in the novel :ALINDA'S ORATION TO HER FATHER IN DEFENCE OF

ROSALYNDE. “If (mighty Torismond) I offend in pleading for my friend, let the law of amitie crave pardon for my boldnesse; for where there is depth of aflection, there friendship alloweth a privileilge. Rosalynd and I have beene fostered up from our infancies, and noursed under the harbour of

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