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    Chapter 11
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    I.i.3 (229,2) [As I remember, Adam, it was upon this fashion bequeathed me. By will, but a poor thousand crowns] There is, in my opinion, nothing but a point misplaced, and an omission of a word which every hearer can supply, and which therefore an abrupt and eager dialogue naturally excludes.

    I read thus: As I remember, Adam, it was on this fashion bequeathed me. By will but a poor thousand crowns; and, as thou sayest, charged my brother on his blessing to breed me well. What is there in this difficult or obscure? The nominative my father is certainly left out, but so left out that the auditor inserts it, in spite of himself.

    I.i.9 (230,3) [stays me here at home, unkept] [W: Stys] Sties is better than stays, and more likely to be Shakespeare's.

    I.i.19 (230,4) [his countenance seems to take from me] [W: discountenance] There is no need of change, a countenance is either good or bad.

    I.i.33 (231,5) [be better employ'd, and be nought a while] Warburton explained ["be nought a while" as "a mischief on you"] If be nought a while has the signification here given it, the reading may certainly stand; but till I learned its meaning from this note, I read,

    Be better employed, and be naught a while.

    In the same sense as we say, it is better to do mischief, than to do nothing.

    I.i.59 (233,7) [I am no villain] The word villain is used by the elder brother, in its present meaning, for a worthless, wicked, or bloody man; by Orlando in its original signification, for a fellow of base extraction.

    I.ii.34 (237,9) [mock the good housewife Fortune from her wheel] The wheel of Fortune is not the wheel of a housewife. Shakespeare has confounded Fortune, whose wheel only figures uncertainty and vicissitude, with the Destiny that spins the thread of life, though indeed not with a wheel.

    I.ii.87 (239,1)

    [Clo. One, that old Frederick your father loves. Cel. My father's love is enough to honour him]

    [T. invoking the Dramatis Personae: Celia] Mr. Theobald seems not to know that the Dramatis Personae were first enumerated by Rowe.

    I.ii.95 (239,2) [since the little wit that fools have, was silenc'd] Shakespeare probably alludes to the use of fools or jesters, who for some ages had been allowed in all courts an unbridled liberty of censure and mockery, and about this time began to be less tolerated.

    I.ii.112 (240,3) [laid on with a trowel] I suppose the meaning is, that there is too heavy a mass of big words laid upon a slight subject.

    I.ii.115 (240,4) [You amaze me, ladies] To amaze, here, is not to astonish or strike with wonder, but to perplex; to confuse; as, to put out of the intended narrative.

    I.ii.131 (241,5) [With bills on their necks: Be it known unto all men by these presents] This conjecture is ingenious. Where meaning is so very thin, as in this vein of jocularity, it is hard to catch, and therefore I know not well what to determine; but I cannot see why Rosalind should suppose, that the competitors in a wrestling match carried bills on their shoulders, and I believe the whole conceit is in the poor resemblance of presence and presents.

    I.ii.149 (241,6) [is there any else longs to see this broken musick in his sides?] [W: set] If any change were necessary, I should write, feel this broken musick, for see. But see is the colloquial term for perception or experiment. So we say every day, see if the water be hot; I will see which is the best time; she has tried, and sees that she cannot lift it. In this sense see may be here used. The sufferer can, with no propriety, be said to set the musick; neither is the allusion to the act of tuning an instrument, or pricking a tune, one of which must be meant by setting musick. Rosalind hints at a whimsical similitude between the series of ribs gradually shortening, and some musical instruments, and therefore calls broken ribs, broken musick.

    I.ii.185 (243,8) [If you saw yourself with your eyes, or knew yourself with your judgment] [W: our eyes, and our judgment] I cannot find the absurdity of the present reading. If you were not blinded and intoxicated, says the princess, with the spirit of enterprise, if you could use your own eyes to see, or your own judgment to know yourself, the fear of your adventure would counsel you.

    I.ii.195 (243,9) [I beseech you, punish me not with your hard thoughts, wherein I confess me much guilty] I should wish to read, I beseech you, punish me not with your hard thoughts. Therein I confess myself much guilty to deny so fair and excellent ladies any thing.

    I.ii.257 (246,1) [one out of suits with Fortune] This seems an allusion to cards, where he that has no more cards to play of any particular sort is out of suit.

    I.ii.275 (247,3) [the Duke's condition] The word condition means character, temper, disposition. So Anthonio the merchant of Venice, is called by his friend the best conditioned man.

    I.iii.33 (249,5) [you should love his son dearly? By this kind of chase, I should hate him, for my father hated his father dearly] That is, by this way of following the argument. Dear is used by Shakespeare in a double sense, for beloved, and for hurtful, hated, baleful. Both senses are authorised, and both drawn from etymology, but properly beloved is dear, and hateful is dere. Rosalind uses dearly in the good, and Celia in the bad sense.

    I.iii.83 (251,6) [And thou wilt show more bright, and seem more virtuous] [W: shine] The plain meaning of the old and true reading is, that when she was seen alone, she would be more noted.

    I.iii.98 (251,7) [Rosalind lacks then the love Which teacheth thee that thou and I am one][W: which teacheth me] Either reading may stand. The sense of the established text is not remote or obscure. Where would be the absurdity of saying, You know not the law which teaches you to do right.

    I.iii.119 (252,9) [curtle-ax]--curtle-axe. or cutlace. a broad sword.

    II.i.13 (254,3)

    [Which, like the toad, ugly and venomous Wears yet a precious jewel in his head]

    It was the current opinion in Shakespeare's time, that in the head of an old toad was to be found a stone, or pearl, to which great virtues were ascribed. This stone has been often sought, but nothing has been found more than accidental or perhaps morbid indurations of the skull.

    II.i.18 (254,4) [I would not change it] Mr. Upton, not without probability, gives these words to the Duke, and makes Amiens begin, Happy is your grace.

    II.i.67 (256,6) [to cope him] To encounter him; to engage with him.

    II.iii.8 (257,8) [The bony priser] So Milton, Giants of mighty bone.

    II.iii.37 (258,9) [diverted blood] Blood turned out of the course of nature.

    II.iii.60 (259,1)

    [promotion; And, having that, do choak their service up Even with the having]

    Even with the promotion gained by service is service extinguished.

    II.iv.33 (261,4) [If thou remember'st not the slightest folly] I am inclined to believe that from this passage Suckling took the hint of his song.

    Honest lover, whosoever, If in all thy love there ever Were one wav'ring thought, thy flame Were not even, still the same. Know this Thou lov'st amiss, And to love true Thou must begin again and love anew, &c. (rev. 1778, III,297,4)

    II.iv.48 (262,5) [batlet] The instrument with which washers beat their coarse cloaths.

    II.iv.51 (262,6) [two cods] For cods it would be more like sense to read peas, which having the shape of pearls, resembled the common presents of lovers.

    II.iv.55 (262,7) [so is all nature in love, mortal in folly] This expression I do not well understand. In the middle counties, mortal, from mort, a great quantity, is used as a particle of amplification; as mortal tall, mortal little. Of this sense I believe Shakespeare takes advantage to produce one of his darling equivocations. Thus the meaning will be, so is all nature in love abounding in folly.

    II.iv.87 (263,8) [And in my voice most welcome shall ye be] In my voice, as far as I have a voice or vote, as far as I have power to bid you welcome.

    II.v.56 (265,2) [Duc ad me] For ducdame sir T. Hammer, very acutely and judiciously, reads duc ad me. That is, bring him to me.

    II.v.63 (266,3) [the first-born of Egypt] A proverbial expression for high-born persons. (1773)

    II.vii.13 (267,4) [A motley fool!--a miserable world.'] [W: miserable varlet] I see no need of changing fool to varlet, nor, if a change were necessary, can I guess how it should certainly be known that varlet is the true word. A miserable world is a parenthetical exclamation, frequent among melancholy men, and natural to Jaques at the sight of a fool, or at the hearing of reflections on the fragility of life.

    II.vii.44 (268,5) [only suit] Suit means petition. I believe, not dress.

    II.vii.55 (269,7)

    [If not, The wise man's folly is anatomiz'd Even by the squandring glances of the fool]

    Unless men have the prudence not to appear touched with the sarcasm of a jester, they subject themselves to his power, and the wise man will have his folly anatomised, that is dissected and laid open by the squandring glances or random shots of a fool.

    II.vii.66 (269,8) [As sensual as the brutish sting] Though the brutish sting is capable of a sense not inconvenient in this passage, yet as it is a harsh and unusual mode of speech, I should read the brutish sty.

    II.vii.04 (270,9)

    [The thorny point Of bare distress hath ta'en from me the shew Of smooth civility]

    We might read torn with more elegance, but elegance alone will not justify alteration.

    II.vii.125 (271,1) [And take upon command what help we have] It seems necessary to read, then take upon demand what help, &c. that is, ask for what we can supply, and have it.

    II.vii.156 (272,3) [Full of wise saws and modern instances] I am in doubt whether modern is in this place used for absurd; the meaning seems to be, that the justice is full of old sayings and late examples.

    II.vii.167 (273,5) [Set down your venerable burden] Is it not likely that Shakespeare had in his mind this line of the Metamorphoses?

    --Patremque Fert humeris, venerabile onus Cythereius heros.

    II.vii.177 (274,5)

    [Thy tooth is not so keen, Because thou art not seen]

    [W: art not sheen] I am afraid that no reader is satisfied with Dr. Warburton's emendation, however vigorously enforced; and it is indeed enforced with more art than truth. Sheen, i.e. smiling, shining. That sheen signifies shining, is easily proved, but when or where did it signify smiling? yet smiling gives the sense necessary in this place. Sir T. Banner's change is less uncouth, but too remote from the present text. For my part, I question whether the original line is not lost, and this substituted merely to fill up the measures and the rhyme. Yet even out of this line, by strong agitation may sense be elicited, and sense not unsuitable to the occasion. Thou winter wind, says the Duke, thy rudeness gives the less pain, as thou art not seen, as thou art an enemy that dost not brave us with thy presence, and whose unkindness is therefore not aggravated by insult.

    II.vii.187 (275,6) [Tho' thou the waters warp] To warp was probably, in Shakespeare's time, a colloquial word, which conveyed no distant allusion to any thing else, physical or medicinal. To warp is to turn, and to turn is to change; when milk is changed by curdling, we now say, it is turned; when water is changed or turned by frost, Shakespeare says, it is curdled. To be warp'd is only to be changed from its natural state. (1773)

    III.i.3 (276,7) [an absent argument] An argument is used for the contents of a book, thence Shakespeare considered it as meaning the subject, and then used it for subject in yet another sense.

    III.i.18 (277,8) [Do this expediently] That is, expeditiously.

    III.ii.2 (277,9) [thrice-crowned queen of night] Alluding to the triple character of Proserpine, Cynthia, and Diana, given by some mythologists to the same Goddess, and comprised in these memorial lines:

    Terret, lustrat, agit, Proserpina, Luna, Diana, Ima, superna, feras, sceptro, fuljore, sagittis.

    III.ii.10 (277,1) [unexpressive] for inexpressible.

    III.ii.31 (278,2) [complain of good breeding] I am in doubt whether the custom of the language in Shakespeare's time did not authorise this mode of speech, and make complain of good breeding the same with complain of the want of good breeding. In the last line of the Merchant of Venice we find that to fear the keeping is to fear the not keeping.

    III.ii.39 (279,5) [Truly, then art damn'd, like an ill-roasted egg, all on one side] Of this jest I do not fully comprehend the meaning.

    III.ii.85 (281,1) [bawd to a bell-wether] Wether and ram had anciently the same meaning.

    III.ii.135 (282,1)

    [Tongues I'll hang on every tree, That shall civil sayings show]

    Civil is here used in the same sense as when we say civil wisdom or civil life, in opposition to a solitary state, or to the state of nature. This desert shall not appear unpeopled, for every tree shall teach the maxims or incidents of social life.

    III.ii.149 (283,2) [Therefore heaven nature charg'd] From the picture of Apelles, or the accomplishments of Pandora.

    [Greek: Aeanertu, oti pautei dlumpia Dorou xdorau.-----------]

    So before,

    -------------------But thou So perfect, and no peerless art created Of ev'ry creature's beat. Tempest.

    Perhaps from this passage Swift had his hint of Biddy Floyd.

    III.ii.155 (283,3) [Atalanta's better part] I know not well what could be the better part of Atalanta here ascribed to Rosalind. Of the Atalanta most celebrated, and who therefore must be intended here where she has no epithet of discrimination, the better part seems to have been her heels, and the worse part was so bad that Rosalind would not thank her lover for the comparison. There is a more obscure Atalanta, a huntress and a heroine, but of her nothing bad is recorded, and therefore I know not which was the better part. Shakespeare was no despicable mythologist, yet he seems here to have mistaken some other character for that of Atalanta.

    III.ii.156 (283,4) [Sad] is grave, sober, not light.

    III.ii.160 (284,5) [the touches] The features; les traits.

    III.ii.186 (284,6) [I was never so be-rhimed since Pythagoras's time, that I was an Irish rat] Rosalind is a very learned lady. She alludes to the Pythagorean doctrine, which teaches that souls transmigrate from one animal to another, and relates that in his time she was an Irish rat, and by some metrical charm was rhymed to death. The power of killing rats with rhymes Donne mentions in his Satires, and Temple in his Treatises. Dr. Gray has produced a similar passage from Randolph.

    --My poets Shall with a saytire steeped in vinegar Rhyme then to death as they do rats in Ireland.

    III.ii.206 (285,8) [One inch of delay more is a South-sea of discovery] This sentence is rightly noted by the commentator [W] as nonsense, but not so happily restored to sense. I read thus:

    One inch of delay more is a South-sea. Discover, I pr'ythee; tell me who is it quickly;--When the transcriber had once made discovery from discover, I, he easily put an article after South-sea.

    But it may be read with still less change, and with equal probability. Every inch of delay more is a South-sea discovery: Every delay, however short, is to me tedious and irksome as the longest voyage, as a voyage of discovery on the South-sea. How such voyages to the South-sea, on which the English had then first ventured, engaged the conversation of that time, may be easily imagined.

    III.ii.238 (287,9) [Garagantna's mouth] Rosalind requires nine questions to be answered in one word. Celia tells her that a word of such magnitude is too big for any mouth but that of Garagantua the giant of Rabelais.

    III.ii.290 (288,2) [but I answer you right painted cloth] Sir T. Hammer reads, I answer you right, in the stile of the painted cloth. Something seems wanting, and I know not what can be proposed better. I answer you right painted cloth, may mean, I give you a true painted cloth answer; as we say, she talks right Billingsgate; that is, exactly such language as is used at Billingsgate. (1773)

    III.ii.363 (291,3) [in-land man] Is used in this play for one civilised, in opposition to the rustick of the priest. So Orlando before--Yet am I in-land bred, and know some nurture.

    III.ii.393 (291,4) [an unquestionable spirit] That is, a spirit not inquisitive, a mind indifferent to common objects, and negligent of common occurrences. Here Shakespeare has used a passive for an active mode of speech; so in a former scene, The Duke is too disputable for me, that is, too disputatious.

    III.ii.439 (293,5) [to a living humour of madness] If this be the true reading we must by living understand lasting, or permanent, but I cannot forbear to think that some antithesis was intended which is now lost; perhaps the passage stood thus, I drove my suitor from a dying humour of love to a living humour of madness. Or rather thus, from a mad humour of love to a loving humour of madness, that is, from a madness that was love, to a love that was madness. This seems somewhat harsh and strained, but such modes of speech are not unusual in our poet; and this harshness was probably the cause of the corruption.

    III.iii.21 (294,7) [and what they swear in poetry, may be said, as lovers, they do feign] This sentence seems perplexed and inconsequent, perhaps it were better read thus, What they swear as lovers they may be said to feign as poets.

    III.iii.32 (295,8) [A material fool!] A fool with matter in bin; a fool stocked with notions.

    III.iii.51 (295,1) [what tho?] What then.

    III.iii.65 (296,2) [Sir Oliver] He that has taken his first degree at the university, is in the academical style called Dominus, and in common language was heretofore termed Sir. This was not always a word of contempt; the graduates assumed it in their own writings; so Trevisa the historian writes himself Syr John de Trevisa.

    III.iii.101 (297,4) [Not, O sweet Oliver] Of this speech, as it now appears, I can make nothing, and think nothing can be made. In the same breath he calls his mistress to be married, and sends away the man that should marry them. Dr. Warburton has very happily observed, that O sweet Oliver is a quotation from an old song; I believe there are two quotations put in opposition to each other. For wind I read wend, the old word for go. Perhaps the whole passage may be regulated thus,

    Clo. I am not in the mind. but it were better for me 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--Come, sweet Audrey, we must be married, or we must live in bawdry.

    Jaq. Go then with me, and let me counsel thee. [they whisper.]

    Clo. Farewel, good sir Oliver, not O sweet Oliver, O brave Oliver, leave Be not behind thee,--but

    Wend away Begone, I say, I will not to wedding with thee to-day.

    Of this conjecture the reader may take as much as shall appear necessary to the sense, or conducive to the humour. I have received all but the additional words. The song seems to be complete without them. (1773)

    III.iv.11 (298, 5) [I' faith, his hair is of a good colour] There is much of nature in this petty perverseness of Rosalind; she finds faults in her lover, in hope to be contradicted, and when Celia in sportive malice too readily seconds her accusations, she contradicts herself rather than suffer her favourite to want a vindication.

    III.v.5 (301, 1) [Will you sterner be Than he that dies and lives by bloody drops?] [W: deals and lives] [Hammer: lives and thrives] Either Dr. Warburton's emendation, except that the word deals, wants its proper construction, or that of sir T. Hammer may serve the purpose; but I believe they have fixed corruption upon the wrong word, and should rather read,

    Than he that dies his lips by bloody drops?

    Will you speak with more sternness than the executioner, whose lips are used to be sprinkled with blood? The mention of drops implies some part that must be sprinkled rather than dipped.

    III. v. 23 (303, 2) [The cicatrice and capable impressure] Cicatrice is here not very properly used; it is the scar of a wound. Capable impressure arrows mark.

    III. v. 29 (303, 3) [power of fancy] Fancy is here used for love, as before in Midsummer Night's Dream.

    III. v. 35 (304, 4) [Who might be your mother] It is common for the poets to express cruelty by saying, of those who commit it, that they were born of rocks, or suckled by tigresses.

    III. v. 48 (305, 8) [That can entame ay spirits to your worship] [W: entraine] The common reading seems unexceptionable.

    III. v. 62 (305, 9) [Foal is most foul, being foul to be a scoffer] [W: being found] The sense of the received reading is not fairly represented; it is, The ugly seem most ugly, when, though ugly, they are scoffers.

    III.v.78 (306,2) [Though all the world could see, None could be so abus'd in sight, as he] Though all mankind could look on you, none could be so deceived as to think you beautiful but he.

    IV.i.37 (309,3) [swam in a gondola] That is, been at Venice, the sweat at that tine of all licentiousness, where the young English gentlemen waited their fortunes, debased their morals, and sometimes lost their religion.

    The fashion of travelling, which prevailed very much in our author's time, was considered by the wiser men as one of the principal causes of corrupt manners. It was therefore gravely censored by Aschaa in his Schoolmaster, and by bishop Hall in his Quo Vadis; and is here, and in other passages, ridiculed by Shakespeare.

    IV.i.157 (312,6) [and that when you are inclin'd to sleep] [W: to weep] I know not why we should read to weep. I believe most men would be more angry to have their sleep hindered than their grief interrupted.

    IV.i.168 (313,8) [Wit, whither wilt?] This must be some allusion to a story well known at that time, though not perhaps irretrievable.

    IV.i.177 (313,9) [make her fault her husband's occasion] That is, represent her fault as occasioned by her husband. Sir T. Banner reads, her husband's accusation.

    IV.i.195 (314,1) [I will think you the most pathetical break-promise] [W: atheistical] I do not see but that pathetical may stand, which seems to afford as much sense and as much humour as atheistical.

    IV.ii.14 (315,2) [Take thou no scorn] [T: In former editions: Then sing him home, the rest shall bear his burden. This is an admirable instance of the sagacity of our preceding editors, to say nothing worse. One should expect, when they were poets, they would at least have taken care of the rhimes, and not foisted in what has nothing to answer it. Now, where is the rhime to, the rest shall bear this burden? Or, to ask another question, where is the sense of it? Does the poet mean, that He, that kill'd the deer, shall be sung home, and the rest shall bear the deer on their backs? This is laying a burden on the poet, that we mist help him to throw off. In short, the mystery of the whole is, that a marginal note is wisely thrust into the text: the song being design'd to be sung by a single voice, and the stanzas to close with a burden to be sung by the whole company.] This note I have given as a specimen of Mr. Theobald's jocularity, and the eloquence with which he recommends his emendations.

    IV.iii (316,4) [Enter Rosalind and Celia] The foregoing noisy scene was introduced only to fill up an interval, which is to represent two hours. This contraction of the time we might impute to poor Rosalind's impatience, but that a few minutes after we find Orlando sending his excuse. I do not see that by any probable division of the acts this absurdity can be obviated.

    IV.iii.48 (318,3) [That could do no vengeance to me] Vengeance is used for mischief.

    IV.iii.59 (318,4) [youth and kind] Kind is the old word for nature.

    IV.iii.101 (319,5) [Within an hour] We must read, within two hours.

    IV.iii.160 (321,6) [cousin--Ganymed!] Celia in her first fright forgets Rosalind's character and disguise, and calls out cousin, then recollects herself, and says Ganymed.

    V.ii.21 (325,9) [And you, fair sister] I know not why Oliver should call Rosalind sister. He takes her yet to be a man. I suppose we should read, and you, and your fair sister.

    V.ii.45 (326,1) [Clubs cannot part them] Alluding to the way of parting dogs in wrath.

    V.ii.74 (327,2) [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.

    V.iii.17 (329,3) [It was a lover and his lass] 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.

    The same transposition of these stanzas is made by Dr. Thirlby, in a copy containing some notes on the margin, which I have perused by the favour of Sir Edward Walpole. (see 1765, II,97,3)

    V.iii.36 (330,4) [the note was very untuneable] [T: untimeable] This emendation is received. I think very undeservedly, by Dr. Warburton.

    V.iv.4 (331,5) [As those that fear, they hope, and know they fear] [W: their hap, and know their] The deprivation 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.

    V.iv.36 (332,6) [Here comes a pair of very strange beasts] [W: unclean beasts] Strange beasts are only what we call odd animals. There is no need of any alteration.

    V.iv.51 (333,7) [found the quarrel was upon the seventh cause] So all the copies; but it is apparent from the sequel that we must read, the quarrel was not upon the seventh cause.

    V.iv.56 (333,8) [I desire you of the like] [W: of you] I have not admitted the alteration, because there are other examples of this mode of expression. (1773)

    V.iv.59 (333,9) [according as marraige binds, and blood breaks] I cannot discover what has here puzzled the commentator [W]: to swear according as marriage binds, ii to take the oath enjoin'd in the ceremonial of marriage.

    V.iv.68 (334,1) [dulcet diseases] This I do not understand. For diseases it is easy to read discourses: but, perhaps the fault may lie deeper.

    V.iv.114 (336,4) [Enter 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.

    V.iv.125 (336,5) [If there be truth in sight] The answer of Phebe makes it probable that Orlando says, if there be truth in shape: that is, if a form may be trusted; if one cannot usurp the form of another.

    V.iv.136 (337,6) [If truth holds true contents] That is, if there be truth in truth, unless truth fails of veracity.

    V.iv.147 (337,7) [Wedding is great Juno's crown] Catullus, addressing himself to Hymen, has this stanza:

    Quae tuis careat sacris, Non queat dare praesides Terra finibus: at queat Te volente. Quis huic deo Compararier ausit? (1773)

    Epilogue.7 (340,5) [What a case am I in then] Here seems to be a chasm, or some other depravation, which destroys the sentiment here intended. The reasoning probably stood thus, Good wine needs no bush, good plays need no epilogue, but bad wine requires a good bush, and a bad play a good epilogue. What case am I in then? To restore the words is impossible; all that can be done without copies is, to note the fault.

    Epilogue.10 (340,1) [furnish'd like a beggar] That is dressed: so before, he was furnished like a huntsman.

    Epilogue.13 (340,2) [I charge you, O women, for the love you bear to men, to like as much of this Play as pleases them: and I charge you, O men, for the love you bear to women----that between you and the women] [W: pleases them...pleases them] The words you and of written as was the custom in that time, were in manuscript scarcely distinguishable. The emendation is very judicious and probable.

    (341,4) General Observation. Of this play the fable is wild and pleasing. I know not how the ladies will approve the facility with which both Rosalind and Celia give away their hearts. To Celia much may be forgiven for the heroism of her friendship. The character of Jaqaes is natural and well preferred. The comick dialogue is very sprightly, with less mixture of low buffoonery than in some other plays; and the graver part is elegant and harmonious. By hastening to the end of his work, Shakespeare suppressed the dialogue between the usurper and the hermit, and lost an opportunity of exhibiting a moral lesson in which he might have found matter worthy of his highest powers.
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