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seems to require ' loving,' which has been substituted by some editors: it is noteworthy that in some half-dozen instances in Shakespeare' live' has been printed for love,' but it is question. able whether any change is justifiable here.

III. iii. 5, 6. “your features ! . .. what features?' Farmer's conjecture • feature ! what's feature' seems singularly plausible; op. I. 17, " I do not know what 'poetical' is.

III. iii. 81. her,' so Folios 1, 2; ' his,' Folios 3, 4: the female bird was the falcon; the male was called “tercel'or tassel.'

III. iv. 48. "noble goose': Hanmer substituted nose-quilled' for noble,' which is, of course, used ironically.

.III. v. 7. dies and lives,' ic. lives and dies,' i.e. subsists from the cradle to the grave'; the inversion of the words seems to have been an old idiom: gp. Romaunt of the Rose,' v. 5790 :

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With sorwe they both die and live,
That unto Richesse her hertis yive.'

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Other passages in later literature might be adduced where the

gencies of metre do not exist.

IV. i. 154. ' like Diana in the fountain.' Stow mentions in his Survey of London (1603) that there was set up in 1596 on the east side of the cross in Cheapside “a curiously wrought tabernacle of grey marble, and in the same an alabaster image of Diana, and water conveyed from the Thames prilling from her naked breast.” It is very doubtful whether Shakespeare is referring to this particular • Diana,' as some have supposed.

IV. ii. 13. The words • Then sing him home, the rest shall bear this burden,' are printed as one line in the Folios. Theobald was the first to re-arrange, as in the text. Knight, Collier, Dyce, and others take the whole to be a stage-direction. Knight

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first called attention to the fact that possibly the original music for this song is to be found in John Hilton's Catch that Catch Can; or, a Choice Collection of Catches, Rounds,' &c., 1652 (printed Furness, p. 230, 231).

IV. iii. 76. "fair ones '; Mr. Wright suggests that perhaps we should read .fair one,' and Mr. Furness assents to the view that "Shakespeare seems to have forgotten that Celia was apparently the only woman present.' But surely it is noteworthy that Oliver a few lines lower down gives the description :- The boy is fair,' &c.

IV. iii. 88. like a ripe sister : the woman low'; the pause at the the woman low cæsura takes the place of a syllable.

IV. iii. 102. chewing the food,' usually quoted as chewing the cud,' a correction of the line first suggested by Scott (cf. Introduction to Quentin Durward).

V. ii. 21. "fair sister ; ' Oliver addresses • Ganymede' thus for he is Orlando's counterfeit Rosalind (op. IV. iii. 93). Some interpreters of Shakespeare are of opinion that Oliver knows the whole secret of the situation.

V. ii. 77. "which 1 tender dearly'; probably an allusion to the Act “against Conjuracons, Inchantments, and Witchecraftes," passed under Elizabeth, which enacted that all persons using witchcraft, &c., whereby death ensued, should be put to death without benefit of clergy, &c

V. iii. 17. Chappell printed the music of the song from a MS., now in the Advocates' Library, Edinburgh, belonging to the early part of the seventeenth century (op. Furness, pp. 262, 263). In the Folios the last stanza is made the second. Mr. Rofte is of opinion that Shakespeare contemplated a trio between the Pages and Touchstone.

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V. iv. 4. • As those that fear they hope, and know they fear.' A large number of unnecessary emendations have been proposed for this plausible reading of the Folios; c.g. 'fear, they hope, and know they fear'; 'fear their hope and hope their fear'; 'fear their hope and know their fear,' &c. The last of these gives the meaning of the line as it stands in the text.

V. iv. 94. "we quarrel in print, by the book'; Shakespeare probably refers to “ Vincentio Saviolo his Practise. In two Bookes. The first intreating the use of the Rapier and Dagger. The second, of Honor and honorable Quarrels; printed in 1594.

V. iv. 95. books for good manners,' e.g. A lytle Booke of Good Maners for Chyldren with interpritation into the vulgare Erglysshe tongue by R. Whittinton, Poet Laureat”; printed at London in 1554; (cp. Dr. Furnivall's Book of Norture of John Russell, &c., published by the Early English Text Society, 1868). Cp. Hamlet, V. ii. 149,

he (i.e. Laertes) is the card or calendar of gentry,' a probable allusion to the title of some such book of manners.'

V. iv. 120. her hand with his '; the first and second Folios his hand'; corrected to "her' in the second and third Folios.

V. iv. 154. even daughter, welcome’; Theobald proposed daughterwelcome,' i.e. "welcome as a daughter. Folios 1, 2, 3, read daughter welcome'; Folio 4, daughter, welcome.' The sense is clear whichever reading is adopted, though the rhythm seems in favour of the reading in the text: 'O my dear niece,' says the Duke, nay, daughter, welcome to me in no less degree than daughter.'

Epilogue, 18. • If I there a woman'; the part of Rosalind was of course originally taken by a boy-actor: women's parts were not taken by women till after the Restoration.

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