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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. Heber, 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 tune were once synonymous.

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:—

ORL. I sometimes do believe, and sometimes do not;

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

Enter ROSALIND, SILVIUS, and PHERE.

Ros. Patience once more, whiles our compact is urg'd:

You say, if I bring in your Rosalind,

[To the DUKE. You will bestow her on Orlando here? DUKE S. That would I, had I kingdoms to give with her. Ros. And you say, you will have her, when I bring her? [TO ORLANDO. ORL. That would I, were I of all kingdoms king. Ros. You say, you'll marry me, if I be willing? [TO PHEBE. PHE. That will I, should I die the hour after. Ros. But if you do refuse to marry me, You'll give yourself to this most faithful shepherd? PHE. So is the bargain.

Ros. You say, that you'll have Phebe, if she will? [TO SILVIUS. SIL. Though to have her and death were both one thing.

Ros. I have promis'd to make all this matter

even.

Keep you your word, O duke, to give your daughter;

You

:

Keep you your word, Phebe, that you'll marry me ;
yours, Orlando, to receive his daughter :-
Or else, refusing me, to wed this shepherd:
Keep your word, Silvius, that you'll marry her,
If she refuse me :- -and from hence I go,
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.

ORL. My lord, the first time that I ever saw
him,

Methought he was a brother to your daughter;
But, my good lord, this boy is forest-born,
And hath been tutor'd in the rudiments
Of many desperate studies by his uncle,
Whom he reports to be a great magician,
Obscured in the circle of this forest.

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

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

"As those that fear to 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 needlessly changes ury'd to heard.

JAQ. There is, sure, another flood toward, and these couples are coming to the ark! Here comes a pair of very strange beasts, which in all tongues are called fools.

Enter TorcиSTONE and AUDREY.

Touch. Salutation and greeting to you all! JAQ. Good my lord, bid him welcome. This is the motley-minded gentleman, that I have so often met in the forest: he hath been a courtier, he swears.

TOUCH. If any man doubt that, let him put me to my purgation. I have trod a measure; I have flattered a lady; I have been politic with my friend, smooth with mine enemy; I have undone three tailors; I have had four quarrels, and like to have fought one.

JAQ. And how was that ta'en up?

TOUCH. Faith, we met, and found the quarrel was upon the seventh cause.

JAQ. How seventh cause?-Good, my lord, like this fellow.

DUKE S. I like him very well.

Toven. 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.

Touch. According to the fool's bolt, sir, and such dulcet diseases.

JAQ. But, for the seventh cause; how did you find the quarrel on the seventh cause?

as

TOUCH. Upon a lie seven times removed :— bear your body more seeming, Audrey : thus, sir. I did disliked 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,

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 enter taining 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:

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he cut it to please himself: this is called the Quip modest. If again, it was not well cut, he disabled my judgment: this is called the Reply churlish. If again, it was not well cut, he would answer, I spake not true: this is called the Reproof valiant. If 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 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.

JAQ. Can you nominate in order now the degrees of the lie?

Touch. O, sir, we quarrel in print, by the book,(1) as you have books for good manners :(2) 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 up a quarrel; but when the parties were met themselves, one of them thought but of an If, as, If you said so, then I said so; and they shook hands, and swore brothers. Your If is the only peace-maker; much virtue in If.

JAQ. Is not this a rare fellow, my lord? he's as good at any thing, and yet a fool.

DUKE S. He uses his folly like a stalking-horse, and under the presentation of that, he shoots his wit.

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(*) First folio omits, the.

[TO DUKE S.

his.

(†) Old copy, He 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, gentle 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 Patterne of the painefull Adventures of Pericles, prince of Tyre, 1608. Sec note (a), p. 92. g Hymen, "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."-JOHNSON.

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[TO DUKE S. [TO ORLANDO. Nor ne'er wed woman, if you be not she. [To PHEBE.

HYм. Peace, ho! I bar confusion :
'Tis I must make conclusion

Of these most strange events:
Here's eight that must take hands,
To join in Hymen's bands,

If truth holds true contents.
You and you no cross shall part:

[To ORLANDO and ROSALIND. You and you are heart in heart:

[To OLIVER and CELIA. You [To PHEBE.] to his love must accord, Or have a woman to your lord::You and you are sure together,

[To TOUCHSTONE and AUDREY.

As the winter to foul weather.
Whiles a wedlock-hymn we sing,
Feed yourselves with questioning;
That reason wonder may diminish,

How thus we met, and these things finish.

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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,
After some question with him, was converted
Both from his enterprize and from the world:
His crown bequeathing to his banish'd brother,
And all their lands restor❜d to them* again
That were with him exíl'd. 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 That here were well begun and well begot: And after, every of this happy number, That have endur'd 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.
JAQ. Sir, by your patience.-If I heard you
rightly,

The duke hath put on a religious life,
And thrown into neglect the pompous court?
JAQ. DE B. He hath.

JAQ. To him will I: out of these convertites There is much matter to be heard and learn'd.— You [To DUKE S.] to your former honour I bequeath;

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Your patience and your virtue well deserves it :You [To ORLANDO.] to a love, that your true faith doth merit:[allies:You [To OLIVER.] to your land, and love, and great You [To SILVIUS.] to a long and well deserved bed;

And you [To TOUCHSTONE.] to wrangling; for thy
loving voyage
[sures;

Is but for two months victuall'd.—So to your plea-
I am for other than for dancing measures.
DUKE S. Stay, Jaques, stay.

JAQ. To see no pastime I :-what you would
have

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a Address'd-] Prepared.

(*) Old text, him.

EPILOGUE.

Ros. It is not the fashion to see the lady the epilogue; but it is no more unhandsome, than to see the lord the prologue. If it be true, that good wine needs no bush, (1) 'tis true, that a good play needs no epilogue: yet to good wine they do use good bushes; and good plays prove the better by the help of good epilogues. What a case am I in, then, that am neither a good epilogue, nor cannot insinuate with you in the behalf of a good play! I am not furnished like a beggar, therefore to beg will not become me my way is, to conjure you, and I'll begin with the women. I charge you, O women,

I

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, (as I perceive by your simpering, none of you hates them,) that between you and the women the play may please. If I were a woman, I would kiss as many of you as had beards that pleased me, complexions that liked me, and breaths that I defied not: and, I am sure, as many as have good beards, or good faces, or sweet breaths, will, for my kind offer, when I make curtsy, bid me farewell. [Exeunt.

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ILLUSTRATIVE COMMENTS.

ACT I.

(1) SCENE I-And so, God keep your worship!] In Lodge'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 rewards 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 inops oblatum respuit aurum) taking great gifts for litle gods, tooke the crownes of Saladyne to performe the stratagem."-ROSALYNDE. Euphues' Golden Legacy, &c. reprinted by Mr. Collier in his Shakespeare's Library.

(2) SCENE II.-Charles is thrown.] 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 Rosader vailed bonnet to the king, and lightly lept 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, whose admirable 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 ladyes drave him out of his inemento with a shake by the shoulder. Rosader looking backe with an angrie frowne, as if hee had been wakened from some pleasaunt 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 incounter, 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 minde 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 fered the passionate desires of Rosader, that turning to the Norman hee ranne 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 himselfe and 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.

My better parts

Are all thrown down; and that which here stands up,
Is but a quintain, a mere lifeless 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 seek 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 shield in such a manner as to break the ligatures and bear it to the ground. In process of time this diversion was improved, and instead of the 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 by the Italians, running at the armed man or at the Saracen.' The quintain thus fashioned was placed upon a pivot, and so contrived as to move round with facility. In running at this figure, it was necessary for the horseman to direct his lance with great adroitness, and make his stroke upon the forehead between the eyes or upon the nose; for if he struck wide of those parts, especially upon the shield, the quintain turned about with much velocity, and, in case he was not exceedingly careful, would give him a severe blow upon the back with the wooden sabre held in the right hand, which was considered as highly disgraceful to the performer, while it excited the laughter and ridicule of the spectators." To this description of quintain there can be little doubt Shakespeare refers in Orlando's speech.

(4) SCENE III.—

And wheresoe'er we went, like Juno's swans,
Still we went 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 affection, there friendship alloweth a priviledge. Rosalynd and I have beene fostered up from our infancies, and noursed under the harbour of

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