good leave As often as this phrase occurs, it means a ready as Persons represented. The list of the persons | P. 242, c. I, l. 6. being omitted in the old editions, was added by Mr. Rowe. JOHNSON. "And here you sty me So "In this hard rock." WARBURTON. Sties is better than stays, and more likely to be Shakspeare's. JOHNSON. Id. 1. 33. do you here? Id. 1. 39.- be better employ'd, and be naught awhile.] i. e. It is better to do mischief, than to do nothing. JOHNSON. what make you here?] i. e. what I believe that the words be nought awhile, mean no more than this: "Be content to be a cypher, till I shall think fit to elevate you into consequence." STEEVENS. Naught and nought are frequently confounded in old English books. I once thought that the latter was here intended, in the sense affixed to it by Mr. Steevens: "Be content to be a cypher, &c." But the following passage in Sweetnam, a comedy, 1620, induces me to think that the reading of the old copy (naught) and Dr. Johnson's explanation are right: get you both in, and be naught awhile." The speaker is a chamber-maid, and she addresses herself to her mistress and her lover. MALONE. Id. l. 46. "him I am." MALONE. Id c. 2, 1. 3.- albeit, I confess, your coming before me is nearer to his reverence.] This probably refers to the courtesy of distinguishing the eldest son of a knight, by the title of esquire. Id. 1. 8. 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. JOHNSON. sent. Id. l. 10. for the duke's daughter,] i. e. the usurping duke's daughter. Sir T. Hanmer reads-the new duke's; and in the preceding speech the old duke's daughter; but in my opinion unneccessarily. The ambiguous use of the word duke in these passages is much in our author's manner. MALONE. Id. 1. 17. in the forest of Arden,] Ardennes is a forest of considerable extent in French Flanders, lying near the Meuse, and between Charlemont and Rocroi. Id. 1. 65. this gamester,] Gamester, in the present instance, and some others, does not signify a man viciously addicted to games of chance, but a frolicsome person. Id. 1. 68. of all sorts-] Sorts, in this place, means ranks and degrees of men. RITSON. advertisement -as we say a play-bill, a handbill; unless these words were part of Le Beau's speech; in which case the word bill would be used by him to denote a weapon, and by Rosalind perverted to mean a label. M. MASON. P. 243, c. 1, l. 58. —— is there any else longs to see this broken musick in his sides?] This probably alludes to the pipe of Pan, which consisting of reeds of unequal length, and gradually lessening. bore some resemblance to the ribs of a man. M. MASON. Broken musick either means the noise which the breaking of ribs would occasion, or the hollow sound which proceeds from a person's receiving a violent fall. Douce. I can offer no legitimate explanation of this passage, but may observe that another, somewhat parallel, occurs in K. Henry V.: "Come, your answer in broken musick; for thy voice is musick, and thy English broken." STEEVENS. Id c. 2, l. 17. if you saw yourself with your eyes, or knew yourself with your judgment,] i. e. if you should use your own eyes to see, or your own judgment to know your self, the fear of your adventure would counsel you. JOHNSON Id. l. 76. that calling,] i. e. appellation; a very unusual, if not unprecedented sense of the word. STEEVENS. P. 244, c. 1, l. 8. "all promise." MALONE. of suits with fortune, I believe, means, turned Id. l. 18. Is but a quintain, a mere lifeless block.] A quintain was a post or butt set up for several kinds of martial exercises, against which they threw their darts and exercised their arms. But all the commentators are at variance about this word, and have illustrated their opinions with cuts. Id. 1. 36. the duke's condition means charac- | ter, temper, disposition. Id. l. 45. "Smaller." MALONE. SCENE III. Id. c. 2, 1. 17. By this kind of chase,] That is, by this way of following the argument. Dear is used by Shakspeare 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. JOHNSON. Id. l. 21. Why should I not, doth he not deserve well?] Celia answers Rosalind (who had desired her "not to hate Orlando, for her sake”) as if she had said "love him, for my sake:" to which the former replies, "Why should I not [i. e. love him]?" Id. 1. 61. remorse;] i. e. compassion. LONE. Id. 1. 28. And with a kind of umber smirch my face;] Umber is a dusky yellow-coloured earth, brought from Umbria in Italy. Id. 1. 34. — curtle-ax-] Or cutlace, a broad sword. 11. 1. 37. We'll have a swashing, &c.] A swashing outside is an appearance of noisy, bullying valour. Swashing blow is mentioned in Romeo and Juliet; and in King Henry V. the boy says:- "As young as I am, I have observed these three swashers;" meaning Nym, Pistol, and Bardolph, ACT II. SCENE I. Id. l. 73. Which, like the toad, ugly and venom ous, Wears yet a precious jewel in his head;] It was the current opinion in Shakspeare's time. that in the head of an old toad was to be found a stone, or pearl, to which great virtues were ascribed. Thomas Lupton, in his First Booke of Notable Things, 4to. bl. 1. bears repeated testimony to the virtues of the "Tode-stone, called Crupaudina." In his Seventh Booke he instructs us how to procure it; and afterwards tells us "You shall knowe whether the Todestone be the ryght and perfect stoce or not. Hold the stone before a Tode, so that he may see it; and if it be a ryght and true stone, the Tode will leape towarde it; ad make as though he would snatch it. He evieth so much that man should have that stone." STEEVENS. Id. c. 2, l. 8, ———— with forked beads-] i e. with arrows, the points of which were barbed. Id. 1. 32. - in the needless stream;] The stream that wanted not such a supply of moisture. Id. 1. 45. "of country." MALONE. Id. l. 55. to cope him-] To encounter, or engage with him. SCENE IL Id. 1. 67.--the roynish clown,] Roynish, from rogneux, French. P. 246, c. 1, l. 1, — quail—] To quail is to faint, to sink into dejection. SCENE III. Id. 1. 7.- O you memory | Shakspeare often uses memory for memorial; and Beaumost and Fletcher sometimes. Id. 1. 11. so fond-] i. e. so indiscreet, so inconsiderate. Id. 1. 12. The bony priser-] The word bonny occurs more than once in the novel from which this play of As You Like It is taken. It s likewise much used by the common people in the northern counties. I believe, however, bony to be the true reading. MALONE. Id. 1. 32. This is no place,] i. e. for you. 1d. 1. 43.- diverted-] turned out of the course of nature. Id. 1. 68. Even with the having:] Even with the promotion gained by service is service extinguished. JOHNSON. SCENE IV. Id. c. 2, l. 19.—no cross,] A cross was a piece of money stamped with a cross. On this our author is perpetually quibbling. Id l. 46. "Wearing." MALONE. Id. l. 57. anight-Thus the old copy Anight, is in the night. The word is used by Chaucer, in The Legende of good Women. Our modern editors read, o'nights, o'night. Id. l. 58. batlet,] The instrument with which washers beat their coarse clothes. Jons - if not, &c.] Unless men have the prudence not to appear touched with the sarcasms 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 squandering glances or random shots of a fool. JOHNSON. Id 1.42. -for a counter,] About the time when this play was written, the French counters) i. e. pieces of false money used as a means of reckoning) were brought into use in England. Id l. 59. his bravery] i. e. his fine clothes. Id 1 62. There then: How then, what then?" &c. MALONE. Id. 1. 78 - inland bred, ] Inland here, and elsewhere in this play, is the opposite to outland, or upland. Orlando means to say, that he had not been bred among clowns. Id. l. 79. And known some nurture:] Nurture is education, breeding, Id. c. 2, l. 28. And take upon command-] At your own command. Id. l. 49. His acts being seven ages.] I have seen, more than once, an old print, entitled The Stage of Man's Life, divided into seven ages. As emblematical representations of this sort were formerly stuck up, both for ornament and instruction, in the generality of houses, it is more probable that Shakspeare took this hint from thence, than from Hippocrates or Procius, who are quoted by Mr. Malone. HENLEY. Id. 1. 56. and bearded like a pard] Beards of different cut were appropriated in our author's time to different characters and professions. The soldier had one fashion, the judge another, the bishop different from both, &c. Id. 1. 57. sudden and quick -] Lest it should be supposed that these epithets are synonymous, it is necessary to be observed that one of the ancient senses of sudden is violent. Id. 1. 02. — modern instances,] Modern means trite, common. ld. l. 42. -- an absent argument--] An 'argument is used for the contents of a book, thence Shakspeare considered it as meaning the subject, and then used it for subject in yet another sense. Id. l. 57. Make an extent-1 "To make an extent of lands," is a legal phrase, from the words of a writ (extendi facias), whereby the sheriff is directed to cause certain lands to be appraised to their full extended value, before he delivers them to the person entitled under a recognizance, &c. in order that it may be certainly known how soon the debt will be paid. MALONE. Id. l. 58. ly. Id. l. 70. expediently.] That is, expeditious SCENE IL unexpressive-] For inexpres sible. Id. c. 2, l. 18. may complain of good breeding, May complain of a good education, for being so inefficient, of so little use to him. MALONE. Id. l. 25. like an ill-roasted egg,] Of this jest 1 do not fully comprehend the meaning. JOHNSON. Shakspeare's similes hardly ever run on four feet. Id. 1. 60. make incision in thee!] Warburton says, to make incision was a proverbial expression then in vogue for to make to understand. But Steevens thinks the allusion is to that common expression, of cutting such a one for the simples. In either case we regret the profaneness. Id. l. 61. thou art raw.] i. e. thou art ignorant, unexperienced. Id. l. 70. bawd to a bell-wether; ] Wether and ram had anciently the same meaning. JOHNSON. P. 250, c. 1, 7. 4. fairest lin'd.] i. e. most fairly delineated. Id. 1. 7. But the fair -] Fair is beauty, complexion. Id. l. 10. rank to market] Sir T. Hanmer reads rate to market, which Mr. Malone adopts. The hobbling metre of these verses (says Touchstone) is like the ambling, shufling pace of a butter woman's horse going to market. Id. 1. 32. the earliest fruit-] Shakspeare seems to have had little knowledge in gardening. The medlar is one of the latest fruits, being uncatable till the end of November. STEEVENS. P. 250, c. 1, 1. 43. That shall civil sayings show] | Id 1 55 in little show.] The allusion is to LONE. Id. 1. 62. Atalanta's better part;] The commentators are not agreed what this lady's better part was: Dr. Johnson inclines to her beauty; Mr. Tollet to her virgin chastity; Dr. Farmer and Mr. Malone to her wit; Mr. Steevens sums up the evidence in these words; "after all, I believe that Atalanta's better part, means only -the best part about her, such as was most commended." Id. l. 67. the touches-] The features; les traits. Id. c. 2, l. 14. --a palm-tree :] A palm-tree, in the forest of Arden, is as much out of its place, as the lioness in a subsequent scene. Id. l. 15. I was never so be-rhymed 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. JOHNSON. Id. 1. 22. —— friends to meet;] Alluding ironi- | "Friends may meet, but mountains never Id. 1. 31. out of all whooping!] i. e. out of | -point-device-] i. e. exact, drest with finical nicety. 252, c. 1, l. 10. — a moonish youth,] i e variable. Id. 1. 37. - Audrey;] Is a corruption of Ethel dreda. The saint of that name is so styled a ancient calendars. Id. l. 45. --as the most capricious poet, honest Ovid, was among the Goths.] Capricious not here humoursome, fantastical, &c. but las civious. UPTON. Id. Mr. Upton is, perhaps, too refined in his i terpretation of capricious. Our author remembered that caper was the Latin for a goat and thence chose this epithet. This, I believe, is the whole. There is a poor quibble be tween goats and Goths. MALONE. l. 46. ·ill-inhabited!] i. e. ill-lodged. An unusual sense of the word. Id. l. 52. -- it strikes a man more dead than a great reckoning in a little room:] A great reckoning in a little room, implies that the e tertainment was mean, and the bill extransgant. Id. 1. 69. A material fool!] A fool with matter Id. l. 19. defence-] Defence, as here op posed to "no skill," signifies the art of fenc ing. Id. 1. 35. One inch of delay more is a South-sea- Id. 1. 53. speak sad brow, and true maid,] Id. 1. 59. Wherein went he?] In what manner P. 251, c. 1, l. 3. Cry, holla! to thy tongue,] Id. l. 35. but I answer you right painted 1. 22. Sir Oliver;] He that has taken his first degree at the university, is in the academ cal style called Dominus, and in common larguage was heretofore termed Sir. The Sir Hugh Evans of Shakspeare is not a Welsh knight who hath taken orders, but only a Welsh clergyman without any regular degree from either of the Universities. See Barring ton's History of the Gwedir Family. N CHOLS. God'ild you—] i. e. God yield you, Id. l. 37. - his bow,] i. e. his yoke. The an SCENE IV. Id. 1. 75. Something browner than Judas's:] Judas was constantly represented in ancient painting or tapestry, with red hair and beard. Id. 1. 77. I'faith his hair is of a good colour. There is much of nature in this petty perverse ness of Rosalind: she finds fault in her lover, in hope to be contradicted, and when Celia in sportive malice too readily seconds her acessations, she contradicts herself rather than suffer her favourite to want a vindication. P. 253, c. 1, l. 4. as the touch of holy bread. We should read beard, that is, as the kiss of an holy saint or hermit, called the kiss of charity. This makes the comparison just and decent; the other impious and absurd. WAR RURTON. P. 253, c. 1, l. 14.—as concave as a cover'd goblet, i. e. hollow. Id. 7. 24. sation. Id. l. 31. much question] i. e. conver quite traverse, athwart, &c.] An unexperienced lover is here compared to a puny filter, to whom it was a disgrace to have his lance broken across, as it was a mark either of want of courage or address. This happened when the horse flew on one side, in the career and hence arose the jocular proverbial phrase of spurring the horse only on one side. 'd. 1. 32. tress. of his lover;] i. e. of his mis power of fancy.] Fancy is here used 1. 1. 16. 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. JOHNSON. 1. 1. 19. mo beauty." MALONE. 11. 26. Of nature's sale-work:] The allusion is to the practice of mechanics, whose work bespoke is more elaborate than that which is made up for chance customers. 45. Foul is most foul, being foul to be a scoffer.] The sense is, The ugly seem most ugly, when, though ngly, they are scoffers. 11.61. - though all the world could see, None could be so abus'd in sight as he.] Though all mankind could look on you, noue could be so deceived as to think you beautiful but he. JOHNSON. LL. 65. Dead shepherd! now I find thy saw of might! Who ever lov'd, that lov'd not at first sight?] The second of these lines is from Marlowe's Hero and Leander, 1637. 254, c. 1, l. 16, That the old carlot - i. e. peasant, from carl or churl; probably a word of Shakspeare's coinage. 1. 1. 18. a peevish boy:] Peevish, in ancient language, signifies weak, silly. 4. L. 27. He is not very tall." MALONE. ACT IV. SCENE L d. 1. 68. which is nice;] i. e. silly, trifling. d. 1. 73. Malone reads, "travels; which by often rumination wraps me in a most humorous sadness." d. c. 2, 1. 9.- disable-] i. e. undervalue. dl. 13.. swan in a gondola.] That is, been at Venice, the seat at that time of all licen P. 255, c. 1, 1. 44. I will weep for nothing, like Diana in the fountain,] Statues, and particularly that of Diana, with water conveyed through them to give the appearance of weeping figures, were anciently a frequent ornament of fountains. Id. l. 46. - I will laugh like a hyen,] The bark of the hyena was anciently supposed to resemble a loud laugh. Id. l. 52. Make the doors -] This is an expression used in several of the midland counties, instead of bar the door. Id. 1. 57.- - Wit, whither wilt?] This was an exclamation much in use, when any one was either talking nonsense, or usurping a greater share in conversation than justly belonged to him. Id. l. 65. make her fault her husband's occasion.] That is, represent her fault as occasioned by her husband. Id. c. 2, 1. 2. the most pathetical break-promise,] Rosalind means a lover whose falsehood would most deeply affect his mistress. begot of thought,] i. e. of melan Id. 1. 23. choly. Id. l. 41. all that I can make ;] i. e. raise as profit from any thing. Id. l. 50. I see love hath made thee a tame snake,] This term was, in our author's time, frequently used to express a poor contemptible fellow. Id. l. 59. purlieus of this forest.] Purlieu, says Manwood's Treatise on the Forest Laws, c. xx, "Is a certaine territorie of ground adjoyning unto the forest, meared and bounded with unmoveable marks, meeres, and boundaries: which territories of ground was also forest, and afterwards disaforested againe by the perambulations made for the severing of the new forest from the old." REED Id. l. 77. napkin :] i. e. handkerchief. Id. c. 2, L. 30. And he did render him—] i. e. describe him. Id. l. 40. in which hurtling-] To hurtle is to move with impetuosity and tumult. Id. l. 72.. Cousin Ganymede!] Celia, in her first fright, forgets Rosalind's character and disguise, and calls out cousin, then recollects herself, and says Ganymede. JOHN SON. ACT V. SCENE I. tiousness, where the young English gentlemen P. 257, c. 1, l. 71. "or, to wit." MALONE. wasted their fortunes, debased their morals, and sometimes lost their religion. d i. 41. — a Rosalind of a better leer than you.] i. e. of a better feature, complexion, or colour, than you. SCENE II. Id. c. 2, l. 29. And you, fair sister.] Oliver speaks to her in the character she had as |