NOTE IX.

III. 2. 221. We have retained here and thoughout the scene the name 'Salerio,' which is so spelt consistently in all the old copies. Rowe altered it to 'Salanio;' and if the punctuation means anything, the editor of the third Quarto seems to have doubted about the name.

Capell, not Steevens as Mr Dyce says, restored 'Salerio' in the text, supposing Shakespeare to have used it as an abridgement of 'Salerino,' which he put in the stage direction. Mr Dyce thinks with Mr Knight that it is altogether unlikely that Shakespeare would, without necessity and in violation of dramatic propriety, introduce a new character, 'Salerio,' in addition to Salanio and Salerino. Tried by this standard Shakespeare's violations of dramatic propriety are frequent indeed, and it is no part of an Editor's duty to correct them.

In the next scene Q,Q,Q, have 'Salerio,' altered in the Folios to 'Solanio;' for clearly it cannot be the same person as the messenger to Belmont; and in IV. I. 15 the same Quartos make 'Salerio' the speaker, while Q, and the Folios have merely 'Sal.'

NOTE X.

111. 4. 72. I could not do withal. In Florio's Giardino di Ricreatione, p. 9, ed. 1591, the Italian 'Io non saprei farci altro' is rendered into English 'I cannot doo with all;' and the phrase occurs several times in the same book, meaning always 'I cannot help it.'

NOTE XI.

IV. 1. 51. Mr Knight attributes the reading 'Mistress of...' to Steevens from the conjecture of Waldron. It was really first adopted by Capell from the conjecture of the ingenious Dr Thirlby.'

Mr Staunton says that in line 51 F, omits 'it;' but this is not the case in our copy. He was misled by an error in the reprint of the first Folio which appeared in 1807.

NOTE XII.

IV. 1. 56. We have retained the reading 'woollen' as it gives a meaning not altogether absurd. In an illuminated copy of an Office de la Vierge in the library of Trinity College there is a representation of a bagpipe which appears to be of sheepskin with the wool on. We incline however to think that Capell's conjecture 'wawling' approaches nearest to the truth, and it has been adopted by Hudson.

NOTE XIII.

Iv. 1. 73, 74. In the Duke of Devonshire's copy of Heyes's Quarto (our Q.) the passage runs thus:

'well use question with the Woolfe,

the Ewe bleake for the Lambe.'

Lord Ellesmere's copy agrees with Capell's literatim, and reads, not 'bleat,' as Mr Collier says, but 'bleake.'

Mr Halliwell says that line 74, Why...lamb, is omitted in one copy of Heyes's Quarto which he has seen, but that it is found in three other copies.

NOTE XIV.

IV. 1. 209. Warburton has claimed this conjecture in a MS. note to Capell's copy of Theobald, but he did not adopt it in his own text.

IV. 1. 303.

NOTE XV.

Mr Knight incorrectly says that this line is first found in

the Folio of 1623. It is in all the Quartos.

NOTE XVI.

v. 1. 264. Capell in his Notes says some may prefer when but where heightens the comparison.

AS YOU LIKE IT.

DRAMATIS PERSONE1.

DUKE, living in banishment.

FREDERICK, his brother, and usurper of his dominions.

AMIENS,

JAQUES,

lords attending on the banished Duke.

LE BEAU3, a courtier attending upon Frederick.
CHARLES, wrestler to Frederick.

WILLIAM, a country fellow, in love with Audrey 3.

A person representing Hymen.

ROSALIND, daughter to the banished Duke.

CELIA, daughter to Frederick.

PHEBE, a shepherdess.

AUDREY, a country wench.

Lords, pages, and attendants, &c.

SCENE-Oliver's house; Duke Frederick's court; and the Forest of Arden.

1 DRAMATIS PERSONE] First given

by Rowe.

2 LE BEAU] LE BEU. Rowe. note (1).

See

3 WILLIAM] 'Clown in love with Audrey,' and 'William, another clown in love with Audrey.' Rowe (ed. 2).