Shall we be fundred? fhall we part sweete girle ? 107, 112. Whether] Whither Ff. 105 IIO 112 Coll. ii. the charge Sing, Wh. i, Dyce ii, Ktly, Rlfe. 110. now...pale] In parenthesis, Ff. in one line to Rosalind in the second in this? if they are not, 'thou' should give place to she, as 'thee' has to me. KEIGHTLEY (Exp. 156): Such was the structure of the time. My thoughts and I am for this other element'-Jonson, Cynthia's Revels, I, i. It was the same in French: Ni la mort ni vous-même Ne me ferez jamais prononcer que je l'aime '-Racine, Bajazet, IV, i. WRIGHT: No one would now think of writing 'thou and I am,' but as it is an instance of a construction of frequent occurrence in Shakespeare's time, by which the verb is attracted to the nearest subject, it should not be altered. See Ben Jonson, The Fox, II, i̟, ‘Take it or leave it, howsoever, both it and I am at your service.' WHITE (ed. ii): A disagreement of words due to mere heedlessness. 104. sundred] WHITE (ed. i): It is noteworthy that this is the form of the contracted participle, usually, if not always, found in books of Shakespeare's time; as, for instance, in this play, 'sequest'red'; 'engend'red'; 'minist'red'; ' rememb'red'; 'wint'red?. It seems more than probable that this uniformity is not accidental; and it is quite possible that it represents the colloquial form of the contraction. 108. change] MALONE: That is, to take your 'change' or reverse of fortune upon yourself, without any aid or participation. STEEVENS: I have inserted this note, but without implicit confidence in the reading it explains. WALKER (Crit. iii, 61): I have no doubt that Shakespeare wrote charge, and so the F2. The erratum change for charge occurs frequently in the Folio. Vice versa, Tam. of the Shr. III, i, 81, the Folio reads, 'I am not so nice To charge true rules for old [odd] inventions.' SINGER: Whoever glances at the passage must see that the printer has here again mistaken ye charge of the MS for yr change. [There is but little doubt in my mind that charge is the true reading. To share her griefs with Celia would be no 'change' to Rosalind, but to bear them all alone and leave Celia out could not but be a heavy charge or burden, which Celia says she must not think of. To bear the 'reverse of fortune' bravely is not what Celia is urging, but that they may still go coupled and inseparable.-ED.] 110. pale] CALDECOTT: This passage may be interpreted either by this heaven, or the light of heaven, with its lustre faded in sympathy with our feelings;' or, 'for, by this heaven, now we have reached, now we are at the utmost verge or point, in this extremity or crisis of our fate,' &c. (for such it was) as this word is used in Wint. Tale, IV, ii: For the red blood reigns in the winter's pale.' [This latter interpretation is extremely doubtful.-ED.] Cel. To feeke my Vncle in the Forrest of Arden. Cel. Ile put my selfe in poore and meane attire, 115. forth fo farre] for farre F 113 115 119 118. fmirch] fmitch F2. Smutch F3F49 Rowe, Pope, Han. 113. in the Forrest of Arden] STEEVENS: These words are an evident interpolation, without use, and injurious to the measure: Why, whither should we go?—To seek my uncle,' being a complete verse. Besides, we have been already informed by Charles the Wrestler that the banished Duke's residence was in the forest of Arden. KNIGHT: All the ordinary reprints of the text are here mutilated by one of Steevens's hateful corrections. [Knight here quotes Steevens's note, and proceeds:] And so the two poor ladies are to go forth to seek the banished Duke through the wide world, and to meet with him at last by chance, because Steevens holds that this indication of their knowledge of the place of his retreat is 'injurious to the measure.' WALKER (Vers. 69) scans the line as it stands in the Folio by reading 'forest' as a monosyllable. 115. farre] WALKER (Crit. i, 189, Article xxx-Far and near used as comparatives): Hen. IV: III, i, 256: And givest such sarcenet surety for thy oaths, As if thou never walk'dst further than Finsbury.' I would read, 'As if thou ne'er walk'dst fur' than Finsbury.' Compare Wint. Tale, IV, iv, 440: 'We'll bar thee from succession; Not hold thee of our blood, no, not our kin, Far than Deucalion off.' Quasi farrer, furrer? In Chaucer we have ferre, further; House of Fame, Bk. ii, line 92, But er I bere the much ferre, I wol the tel what I am.' (Note, As You Like It: Maids as we are, to travel forth so far!' Does not 'Shakespeare's instinctive love of euphony require that we should here pronounce, perhaps write, fur? ñópþw.) [Walker's ear was so delicately attuned to the harmony of verse that one should be exceedingly cautious in gainsaying him. Yet I must confess that this last query seems to me the weakest in an article which is otherwise admirable throughout, and one to which it is a pleasure to record obligations. We must remember that Walker did not live to see his notes in type; indeed, did not even live to prepare them for the press. They are merely the jottings of a scholar, almost his private adversaria, which accounts for their abruptness and their Greek and Latin short-cuts, which some critics, oblivious of this fact, have severely criticised as pedantic. Walker's admirable editor, Lettsom, whose influence over Dyce, by the way, was marked, was wise in preserving every scrap, however disjointed, of Walker's memoranda, albeit Walker himself might have erased many a one when the heat was cooled with which they were first struck out. But whether wise or otherwise, no suggestion from a scholar like Walker should pass unregarded by simple folk like us.-ED.] 118. vmber] MALONE: A dusky, yellow-coloured earth, brought from Umbria in Italy. 118. smirch] See Text. Notes for other forms of this word, all of which, together with smudge, WRIGHT says, are originally connected with smear. Compare 'the chaste unsmirched brows of my true mother,' Ham. IV, v, 115. And neuer ftir affailants. 120 Rof. Were it not better, Because that I am more then common tall, A bore-speare in my hand, and in my heart 125 Lye there what hidden womans feare there will, Weele haue a swashing and a marshall outside, That doe outface it with their femblances. Cel. What fhall I call thee when thou art a man? 130 121. Were it] Were't Pope +. 124. curtelax] curtelass Cap. 123. me] Om. F 127. Weele] I'll Han. Johns. 122. Because that] See I, iii, 44. 123. suite] DYCE: That is, clothe, dress; as in Lear, IV, vii, 6, Be better suited,' . e. put on better clothes.' 123. all points] See line 74 supra. 124. curtelax] DYCE: A cutlass. WRIGHT: The termination is an instance of a frequent corruption by which a word is altered so as to correspond to a supposed ety. mology. Other forms of the word, due to the same tendency, are 'cutlace' and 'cutlash.' A curtleaxe was not an axe at all, but a short sword. The word is formed from a diminutive of the Latin cultellus. Florio (It. Dict.) has 'Coltellaccio, a cutleaxe, a hanger.' Cotgrave gives Coutelas: m. A Cut elas, Courtelas, or short sword, for a man at armes.' Compare Fairfax, Tasso, ix, 82: His curtlax by his thigh, short, hooked, fine.' And Hen. V: IV, ii, 21: Scarce blood enough in all their sickly veins To give each naked curtle-axe a stain.' Again, Lodge in his novel, To the Gentlemen Readers,' says, 'Heere you may perhaps finde some leaves of Venus mirtle, but hewen down by a souldier with his curtlaxe.' Spenser, supposing the weapon to be a short axe, wrote (Faery Queene, IV, ii, 42): But speare and curtaxe both vsd Priamond in field.' In DuBartas, Historie of Judith (trans. Hudson), book ii, p. 16 (ed. 1611), the word appears in the form 'curtlasse': ‘And with a trembling hand the curtlasse drewe.' 125. bore-speare] Halliwell gives a wood-cut both of a curtleaxe and of a boarspear. The latter, says FAIRHOLT, has a blade very broad and strong, with a cross-bar inserted immediately below it, to prevent its passing directly through the animal. Unlike the ordinary spear, it appears to have been seldom thrown, but the rush made by the animal on the hunter was met by a direct opposition of the weapon on his part.' 127. swashing] STEEVENS: That is, an appearance of noisy, bullying valour, [See Rom. & Jul. I, i, 55, with its superfluity of notes in this edition. The word is still current here in America. The line is thus scanned by ABBOTT, § 455, with an accent on out in the last word: We'll háve | a swásh | ing and | a már | tial oútside.-ED.] 129. it] For other instances of this indefinite use of it,' which is as universal now as ever, see Abbott, § 226, Rof. Ile haue no worse a name then Ioues owne Page, And therefore looke you call me Ganimed. But what will you by call'd? Cel. Something that hath a reference to my state: No longer Celia, but Aliena. 135 Rof. But Cofen, what if we affaid to steale The clownish Foole out of your Fathers Court: Cel. Heele goe along ore the wide world with me, 140 133. by] F, 134. hath] bath F 140. woe] wooe Ff. woo Rowe. 131. Page] FLETCHER (p. 202): Mrs Jameson, amongst others, misled probably by one of those hasty verbal mistakes which have been so often made by the expositors of Shakespeare, seems to have been betrayed by Rosalind's allusion immediately after to Jove's own page,' into talking of 'her page's vest,' 'her page's costume,' &c. Now, pages of the banished Duke do appear in the course of the forest scenes, two of whom sing, at Touchstone's request, the lively song introduced in the Fifth Act; but the accoutrements of a page would ill have supplied that 'martial' exterior for the sake of whose protection alone Rosalind has any inclination to put herself in masquerade. She is to wear manly, not boyish, habiliments. The curtleaxe and boar-spear are not the page's nor the shepherd's array, but the forester's, such as was worn by her father and his exiled followers. [But see Lodge's Novel, where Rosalynde says, 'I would very well become the person and apparel of a page,' &c., and again, if any knave offer wrong, your page will shew him the poynt of his weapon.' See further, Fletcher's note, III, v, 114.—ED.] 132. Ganimed] NEIL: This name, which is that used by Lodge, would not be the less acceptable to Shakespeare that it had acquired a fresh poetic interest in The Affectionate Shepherd, containing the Complaint of Daphnis for the love of Gany mede, by Richard Barnefield, 1594. 135. Aliena] WRIGHT: With the accent on the second syllable. ROLFE: But surely Celia' is a trisyllable, as in line 70 above, and ‘Aliena' accented on the penult, as it ought to be. [This is the only line in the play where the rhythm can be our guide. Our choice, therefore, lies, I think, only between No lóng | er Cél | ya, bút | Alí | ena,' and 'No long | er Ce | liá, | but Al | iéna.' With Rolfe, I much prefer the latter, because, as he says, Celia is elsewhere unquestionably a trisyllable, namely, in 'Ay, Ce | liá, | we stáy'd | her fór | your sake.' Moreover, Shakespeare's 'small Latin' was quite large enough for him to remember the quantity of ăliena. -ED.] 140. HUDSON (p. 16): It is curious to observe how the Poet takes care to let us know from the first that beneath the affectations of Touchstone's calling some precious sentiments have been kept alive; that far within the Fool there is laid up a secret reserve of the man, ready to leap forth and combine with better influences as soon as the incrustations of art are thawed and broken up. This is partly done [here in this present passage], where we learn that some remnants, at least, of a manly heart in 141 And get our Iewels and our wealth together, To hide vs from pursuite that will be made To libertie, and not to banishment. Exeunt. 145 Actus Secundus. Scœna Prima. Enter Duke Senior: Amyens, and two or three Lords Duk. Sen. Now my Coe-mates, and brothers in exile: 144. in we] Cald. Knt, Neil. we in Ff et cet. content] cantent F Actus] Actu F2. 3. brothers] brother Ff. 5 7 7. not] but Theob. +, Cap. Steev. Mal. Coll. ii, iii, Sing. Wh. Dyce, Cam. Clke, Wr. Mob. 1. Lords] Lorde F. him have asserted their force in the shape of unselfish regards, strong as life, for whatever is purest and loveliest in the characters about him. He would rather starve or freeze, with Celia near him, than feed high and lie warm where his eye cannot find her. If, with this fact in view, our honest esteem does not go out towards him, then we, I think, are fools in a worse sense than he is. [And the reflection of this devotion illuminates Celia, too, who kindled it.-ED.] 144. in we] MALONE: I am not sure that the transposition we in is necessary. Our author might have used 'content' as an adjective. NEIL follows the Folio, which means, he says, Now let us go in, contentedly. Perhaps,' he adds, ‘the reading, "Now go in; we consent," would give the author's meaning.' 1. Duke Senior] In a note on I, ii, 78, Capell says that throughout all this play Shakespeare calls his two Dukes, Duke Senior and Duke Junior. In a MS note of Malone's, given by Halliwell, Malone says: This is not so. The younger brother is never once called Duke Junior, throughout the play, in any one entry. He is always called simply Duke. The other is called Duke Senior.' 3. exile] WALKER (Vers. 291) gives a list of many words, chiefly disyllabic, which have an accent-though, of course, an unequal one-on both syllables, the principal one being shifted ad libitum from the one syllable to the other.' Thus, in Rom. & Jul. III, iii, 13: For exile hath more terror in his look,' yet within eight lines the accent is shifted to the second syllable (as it is here in As You Like It): ' And world's exile is death; then banished.' See also Abbott, § 490. 7. THEOBALD: What was the penalty of Adam, hinted at by our Poct? The being sensible of the difference of the seasons. The Duke says, the cold and effects |