ACT V.
Scene I. The forest.
AYLI V. 1 Enter Touchstone and Audrey.
Touch. We shall find a time, Audrey; patience, gentle Audrey.
Aud. Faith, the priest was good enough, for all the old gentleman’s saying.
005 Touch. A most wicked Sir Oliver, Audrey, a most vile Martext. But, Audrey, there is a youth here in the forest lays claim to you.
Aud. Ay, I know who ’tis: he hath no interest in me in the world: here comes the man you mean.
010 Touch. It is meat and drink to me to see a clown: by my troth, we that have good wits have much to answer for; we shall be flouting; we cannot hold.
Enter William.
Will. Good even, Audrey.
Aud. God ye good even, William.
015 Will. And good even to you, sir.
Touch. Good even, gentle friend. Cover thy head, cover thy head; nay, prithee, be covered. How old are you, friend?
Will. Five and twenty, sir.
Touch. A ripe age. Is thy name William?
020 Will. William, sir.
Touch. A fair name. Wast born i’ the forest here?
Will. Ay, sir, I thank God.
Touch. ‘Thank God;’ a good answer. Art rich?
Will. Faith, sir, so so.
025 Touch. ‘So so’ is good, very good, very excellent good; and yet it is not; it is but so so. Art thou wise?
Will. Ay, sir, I have a pretty wit.
Touch. Why, thou sayest well. I do now remember a [029] saying, ‘The fool doth think he is wise, but the wise man 030 knows himself to be a fool.’ The heathen philosopher, when he had a desire to eat a grape, would open his lips when he put it into his mouth; meaning thereby that grapes were made to eat and lips to open. You do love this maid?
[034] Will. I do, sir.
035 Touch. Give me your hand. Art thou learned?
Will. No, sir.
Touch. Then learn this of me: to have, is to have; for it is a figure in rhetoric that drink, being poured out of a cup into a glass, by filling the one doth empty the other; 040 for all your writers do consent that ipse is he: now, you are not ipse, for I am he.
Will. Which he, sir?
Touch. He, sir, that must marry this woman. Therefore, you clown, abandon,—which is in the vulgar leave,— 045 the society,—which in the boorish is company,—of this female,—which in the common is woman; which together is, abandon the society of this female, or, clown, thou [048] perishest; or, to thy better understanding, diest; or, to wit, I kill thee, make thee away, translate thy life into death, 050 thy liberty into bondage: I will deal in poison with thee, or in bastinado, or in steel; I will bandy with thee in faction; [052] I will o’er-run thee with policy; I will kill thee a hundred and fifty ways: therefore tremble, and depart.
Aud. Do, good William.
055 Will. God rest you merry, sir. [Exit.
Enter Corin.
[056] Cor. Our master and mistress seeks you; come, away, away!
Touch. Trip, Audrey! trip, Audrey! I attend, I attend. [Exeunt.
Scene II. The forest.
AYLI V. 2 Enter Orlando and Oliver.
Orl. Is’t possible that on so little acquaintance you should like her? that but seeing you should love her? and loving woo? and, wooing, she should grant? and will [004] you persever to enjoy her?
005 Oli. Neither call the giddiness of it in question, the poverty of her, the small acquaintance, my sudden wooing, [007] nor her sudden consenting; but say with me, I love Aliena; say with her that she loves me; consent with both that we may enjoy each other: it shall be to your good; for my 010 father’s house and all the revenue that was old Sir Rowland’s will I estate upon you, and here live and die a shepherd.
[012] Orl. You have my consent. Let your wedding be to-morrow: [013] thither will I invite the Duke and all’s contented followers. Go you and prepare Aliena; for look you, here [015] comes my Rosalind.
Enter Rosalind.
Ros. God save you, brother.
[017] Oli. And you, fair sister. [Exit.
Ros. O, my dear Orlando, how it grieves me to see thee wear thy heart in a scarf!
020 Orl. It is my arm.
Ros. I thought thy heart had been wounded with the claws of a lion.
Orl. Wounded it is, but with the eyes of a lady.
Ros. Did your brother tell you how I counterfeited to [025] swoon when he showed me your handkercher?
Orl. Ay, and greater wonders than that.
Ros. O, I know where you are: nay, ’tis true: there [028] was never any thing so sudden but the fight of two rams, [029] and Cæsar’s thrasonical brag of ‘I came, saw, and overcame:’ 030 for your brother and my sister no sooner met but they looked; no sooner looked but they loved; no sooner loved but they sighed; no sooner sighed but they asked one another the reason; no sooner knew the reason but they sought the remedy: and in these degrees have they 035 made a pair of stairs to marriage which they will climb incontinent, or else be incontinent before marriage: they are in the very wrath of love and they will together; clubs cannot part them.
Orl. They shall be married to-morrow, and I will bid 040 the Duke to the nuptial. But, O, how bitter a thing it is to look into happiness through another man’s eyes! By so much the more shall I to-morrow be at the height of heart-heaviness, by how much I shall think my brother happy in having what he wishes for.
045 Ros. Why then, to-morrow I cannot serve your turn for Rosalind?
Orl. I can live no longer by thinking.
Ros. I will weary you then no longer with idle talking. Know of me then, for now I speak to some purpose, that 050 I know you are a gentleman of good conceit: I speak not this that you should bear a good opinion of my knowledge, [052] insomuch I say I know you are; neither do I labour for a greater esteem than may in some little measure draw a belief from you, to do yourself good and not to grace me. 055 Believe then, if you please, that I can do strange things: I [056] have, since I was three year old, conversed with a magician, most profound in his art and yet not damnable. If you do [058] love Rosalind so near the heart as your gesture cries it out, [059] when your brother marries Aliena, shall you marry her: I 060 know into what straits of fortune she is driven; and it is not impossible to me, if it appear not inconvenient to you, to set her before your eyes to-morrow human as she is and without any danger.
[064] Orl. Speakest thou in sober meanings?
065 Ros. By my life, I do; which I tender dearly, though I say I am a magician. Therefore, put you in your best array; bid your friends; for if you will be married to-morrow, you shall; and to Rosalind, if you will.
Enter Silvius and Phebe.
[069] Look, here comes a lover of mine and a lover of hers.
070 Phe. Youth, you have done me much ungentleness,
To show the letter that I writ to you.
Ros. I care not if I have: it is my study
To seem despiteful and ungentle to you:
You are there followed by a faithful shepherd;
[075] Look upon him, love him; he worships you.
Phe. Good shepherd, tell this youth what ’tis to love.
[077] Sil. It is to be all made of sighs and tears;
And so am I for Phebe.
Phe. And I for Ganymede.
080 Orl. And I for Rosalind.
Ros. And I for no woman.
[082] Sil. It is to be all made of faith and service;
And so am I for Phebe.
Phe. And I for Ganymede.
085 Orl. And I for Rosalind.
Ros. And I for no woman.
Sil. It is to be all made of fantasy,
All made of passion, and all made of wishes;
[089] All adoration, duty, and observance,
090 All humbleness, all patience, and impatience,
[091] All purity, all trial, all observance;
And so am I for Phebe.
Phe. And so am I for Ganymede.
Orl. And so am I for Rosalind.
095 Ros. And so am I for no woman.
Phe. If this be so, why blame you me to love you?
Sil. If this be so, why blame you me to love you?
Orl. If this be so, why blame you me to love you?
[099] Ros. Who do you speak to, ‘Why blame you me to 100 love you?’
Orl. To her that is not here, nor doth not hear.
Ros. Pray you, no more of this; ’tis like the howling [103] of Irish wolves against the moon. [To Sil.] I will help you, [104] if I can: [To Phe.] I would love you, if I could. To-morrow [105] meet me all together. [To Phe.] I will marry you, if [106] ever I marry woman, and I’ll be married to-morrow: [To Orl.] [107] I will satisfy you, if ever I satisfied man, and you shall be married to-morrow: [To Sil.] I will content you, if what pleases you contents you, and you shall be married 110 to-morrow. [To Orl.] As you love Rosalind, meet: [To Sil.] as you love Phebe, meet: and as I love no woman, I ’ll meet. So, fare you well: I have left you commands.
[113] Sil. I’ll not fail, if I live.
Phe. Nor I.
115 Orl. Nor I. [Exeunt.
[000] Scene III. The forest.
AYLI V. 3 Enter Touchstone and Audrey.
Touch. To-morrow is the joyful day, Audrey; to-morrow will we be married.
Aud. I do desire it with all my heart; and I hope it is no dishonest desire to desire to be a woman of the world. 005 Here come two of the banished Duke’s pages.
Enter two Pages.
First Page. Well met, honest gentleman.
Touch. By my troth, well met. Come, sit, sit, and a song.
Sec. Page. We are for you: sit i’ the middle.
First Page. Shall we clap into’t roundly, without 010 hawking or spitting or saying we are hoarse, which are [011] the only prologues to a bad voice?
Sec. Page. I’faith, i’faith; and both in a tune, like two gipsies on a horse.
Song.
It was a lover and his lass,
015 With a hey, and a ho, and a hey nonino,
That o’er the green corn-field did pass
[017] In the spring time, the only pretty ring time,
When birds do sing, hey ding a ding, ding:
Sweet lovers love the spring.
020 Between the acres of the rye,
With a hey, and a ho, and a hey nonino,
[022] These pretty country folks would lie,
[023] In spring time, &c.
[024] This carol they began that hour,
025 With a hey, and a ho, and a hey nonino,
[026] How that a life was but a flower
[027] In spring time, &c.
[028] And therefore take the present time,
With a hey, and a ho, and a hey nonino;
030 For love is crowned with the prime
In spring time, &c.
Touch. Truly, young gentlemen, though there was no [033] great matter in the ditty, yet the note was very untuneable.
[034] First Page. You are deceived, sir: we kept time, we 035 lost not our time.
Touch. By my troth, yes; I count it but time lost to [037] hear such a foolish song. God buy you; and God mend your voices! Come, Audrey. [Exeunt.
[000] Scene IV. The forest.
AYLI V. 4 Enter Duke senior, Amiens, Jaques, Orlando, Oliver, and Celia.
Duke S. Dost thou believe, Orlando, that the boy
Can do all this that he hath promised?
Orl. I sometimes do believe, and sometimes do not;
[004] As those that fear they hope, and know they fear.
Enter Rosalind, Silvius, and Phebe.
[005] Ros. Patience once more, whiles our compact is urged:
You say, if I bring in your Rosalind,
You will bestow her on Orlando here?
Duke S. That would I, had I kingdoms to give with her.
Ros. And you say, you will have her, when I bring her?
010 Orl. That would I, were I of all kingdoms king.
Ros. You say, you’ll marry me, if I be willing?
Phe. That will I, should I die the hour after.
Ros. But if you do refuse to marry me,
You’ll give yourself to this most faithful shepherd?
015 Phe. So is the bargain.
Ros. You say, that you’ll have Phebe, if she will?
Sil. Though to have her and death were both one thing.
Ros. I have promised to make all this matter even.
Keep you your word, O Duke, to give your daughter;
020 You yours, Orlando, to receive his daughter:
[021] Keep your word, Phebe, that you’ll marry me,
Or else refusing me, to wed this shepherd:
Keep your word, Silvius, that you’ll marry her,
If she refuse me: and from hence I go,
[025] To make these doubts all even. [Exeunt Rosalind and Celia.
Duke S. I do remember in this shepherd boy
Some lively touches of my daughter’s favour.
Orl. My lord, the first time that I ever saw him
Methought he was a brother to your daughter:
030 But, my good lord, this boy is forest-born,
And hath been tutor’d in the rudiments
Of many desperate studies by his uncle,
[033] Whom he reports to be a great magician,
Obscured in the circle of this forest.
Enter Touchstone and Audrey.
[035] Jaq. There is, sure, another flood toward, and these [036] couples are coming to the ark. Here comes a pair of very strange beasts, which in all tongues are called fools.
Touch. Salutation and greeting to you all!
Jaq. Good my lord, bid him welcome: this is the motley-minded 040 gentleman that I have so often met in the forest: he hath been a courtier, he swears.
Touch. If any man doubt that, let him put me to my purgation. I have trod a measure; I have flattered a lady; I have been politic with my friend, smooth with mine 045 enemy; I have undone three tailors; I have had four quarrels, and like to have fought one.
Jaq. And how was that ta’en up?
[048] Touch. Faith, we met, and found the quarrel was upon the seventh cause.
[050] Jaq. How seventh cause? Good my lord, like this fellow.
Duke S. I like him very well.
[053] Touch. God ’ild you, sir; I desire you of the like. I press in here, sir, amongst the rest of the country copulatives, [055] to swear and to forswear; according as marriage binds and blood breaks: a poor virgin, sir, an ill-favoured thing, sir, but mine own; a poor humour of mine, sir, to take that that no man else will: rich honesty dwells like a miser, sir, in a poor house; as your pearl in your foul oyster.
060 Duke S. By my faith, he is very swift and sententious.
[061] Touch. According to the fool’s bolt, sir, and such dulcet [062] diseases.
Jaq. But, for the seventh cause; how did you find the quarrel on the seventh cause?
065 Touch. Upon a lie seven times removed:—bear your body more seeming, Audrey:—as thus, sir. I did dislike the cut of a certain courtier’s beard: he sent me word, if I said his beard was not cut well, he was in the mind it was: this is called the Retort Courteous. If I sent him word 070 again ‘it was not well cut,’ he would send me word, he cut it to please himself: this is called the Quip Modest. If again ‘it was not well cut,’ he disabled my judgement: this is called the Reply Churlish. If again ‘it was not well cut,’ he would answer, I spake not true: this is called the Reproof 075 Valiant. If again ‘it was not well cut,’ he would say, [076] I lie: this is called the Countercheck Quarrelsome: and so to the Lie Circumstantial and the Lie Direct.
Jaq. And how oft did you say his beard was not well cut?
080 Touch. I durst go no further than the Lie Circumstantial, nor he durst not give me the Lie Direct; and so we measured swords and parted.
Jaq. Can you nominate in order now the degrees of the lie?
085 Touch. O sir, we quarrel in print, by the book; as you have books for good manners: I will name you the degrees. The first, the Retort Courteous; the second, the Quip Modest; the third, the Reply Churlish; the fourth, the Reproof Valiant; the fifth, the Countercheck Quarrelsome; 090 the sixth, the Lie with Circumstance; the seventh, the Lie Direct. All these you may avoid but the Lie Direct; and you may avoid that too, with an If. I knew when seven [093] justices could not take up a quarrel, but when the parties were met themselves, one of them thought but of an If, as, 095 ‘If you said so, then I said so;’ and they shook hands and swore brothers. Your If is the only peace-maker; much virtue in If.
[098] Jaq. Is not this a rare fellow, my lord? he’s as good at any thing and yet a fool.
100 Duke S. He uses his folly like a stalking-horse and under the presentation of that he shoots his wit.
Enter Hymen, Rosalind, and Celia.
Still Music.
Hym. Then is there mirth in heaven,
When earthly things made even
[104] Atone together.
105 Good Duke, receive thy daughter:
Hymen from heaven brought her,
Yea, brought her hither,
[108] That thou mightst join her hand with his
[109] Whose heart within his bosom is.
110 Ros. To you I give myself, for I am yours.
To you I give myself, for I am yours.
Duke S. If there be truth in sight, you are my daughter.
[113] Orl. If there be truth in sight, you are my Rosalind.
[114] Phe. If sight and shape be true,
115 Why then, my love adieu!
Ros. I’ll have no father, if you be not he:
I’ll have no husband, if you be not he:
Nor ne’er wed woman, if you be not she.
Hym. Peace, ho! I bar confusion:
120 ’Tis I must make conclusion
Of these most strange events:
Here’s eight that must take hands
To join in Hymen’s bands,
If truth holds true contents.
125 You and you no cross shall part:
You and you are heart in heart:
You to his love must accord,
Or have a woman to your lord:
You and you are sure together,
130 As the winter to foul weather.
Whiles a wedlock-hymn we sing,
Feed yourselves with questioning;
That reason wonder may diminish,
[134] How thus we met, and these things finish.
Song.
135 Wedding is great Juno’s crown:
O blessed bond of board and bed!
’Tis Hymen peoples every town;
High wedlock then be honoured:
Honour, high honour and renown,
[140] To Hymen, god of every town!
Duke S. O my dear niece, welcome thou art to me!
[142] Even daughter, welcome, in no less degree.
Phe. I will not eat my word, now thou art mine;
[144] Thy faith my fancy to thee doth combine.
Enter Jaques de Boys.
145 Jaq. de B. Let me have audience for a word or two:
I am the second son of old Sir Rowland,
That bring these tidings to this fair assembly.
Duke Frederick, hearing how that every day
Men of great worth resorted to this forest,
150 Address’d a mighty power; which were on foot,
In his own conduct, purposely to take
His brother here and put him to the sword:
And to the skirts of this wild wood he came;
Where meeting with an old religious man,
155 After some question with him, was converted
Both from his enterprise and from the world;
His crown bequeathing to his banish’d brother,
[158] And all their lands restored to them again
That were with him exiled. This to be true,
I do engage my life.
Duke S.
160 Welcome, young man;
[161] Thou offer’st fairly to thy brothers’ wedding:
To one his lands withheld; and to the other
A land itself at large, a potent dukedom.
First, in this forest let us do those ends
165 That here were well begun and well begot:
And after, every of this happy number,
That have endured shrewd days and nights with us,
Shall share the good of our returned fortune,
[169] According to the measure of their states.
170 Meantime, forget this new-fallen dignity,
And fall into our rustic revelry.
Play, music! And you, brides and bridegrooms all,
With measure heap’d in joy, to the measures fall.
Jaq. Sir, by your patience. If I heard you rightly,
175 The Duke hath put on a religious life
And thrown into neglect the pompous court?
Jaq. de B. He hath.
Jaq. To him will I: out of these convertites
There is much matter to be heard and learn’d.
[180] [To Duke S.] You to your former honour I bequeath;
[181] Your patience and your virtue well deserves it:
[To Orl.] You to a love, that your true faith doth merit:
[To Oli.] You to your land, and love, and great allies:
[To Sil.] You to a long and well-deserved bed:
185 [To Touch.] And you to wrangling; for thy loving voyage
Is but for two months victuall’d. So, to your pleasures:
I am for other than for dancing measures.
Duke S. Stay, Jaques, stay.
Jaq. To see no pastime I: what you would have
190 I’ll stay to know at your abandon’d cave. [Exit.
[191] Duke S. Proceed, proceed: we will begin these rites,
[192] As we do trust they’ll end, in true delights. [A dance.
[000] EPILOGUE.
Ros. It is not the fashion to see the lady the epilogue; but it is no more unhandsome than to see the lord the prologue. If it be true that good wine needs no bush, ’tis true that a good play needs no epilogue: yet to good wine they 005 do use good bushes; and good plays prove the better by [006] the help of good epilogues. What a case am I in then, [007] that am neither a good epilogue, nor cannot insinuate with you in the behalf of a good play! I am not furnished like a beggar, therefore to beg will not become me: my way is 010 to conjure you; and I’ll begin with the women. I charge you, O women, for the love you bear to men, to like as [012] much of this play as please you: and I charge you, O men, for the love you bear to women,—as I perceive by your [014] simpering, none of you hates them,—that between you and 015 the women the play may please. If I were a woman I would kiss as many of you as had beards that pleased me, complexions that liked me and breaths that I defied not: and, I am sure, as many as have good beards or good faces or sweet breaths will, for my kind offer, when I make [020] curtsy, bid me farewell. [Exeunt.
NOTES.
AYLI [TOC]
Note I.
Le Beau is so called in F1 on his first entrance, afterwards always ‘Le Beu.’
The banished Duke is called Duke Senior in the stage directions.
Rosalind is spelt indifferently thus and ‘Rosaline.’
Rowe, in his second edition, besides ‘Touchstone’ and ‘William,’ introduced among the [Dramatis Personæ] ‘A clown in love with Audrey.’ He was followed by Pope, Theobald, Hanmer, and Warburton. Johnson struck it out.
Note II.
[i. 1. 46.] The correction revenues for reverence has been made in MS. by some unknown hand in Capell’s copy of the third Folio. The writing somewhat resembles Warburton’s.
Note III.
[i. 2. 79.] There can be no doubt that the words ‘wise men’ here printed as two, in obedience to modern usage, were frequently in Shakespeare’s time written and pronounced as one word, with the accent on the first syllable, as ‘madman’ is still. See Sidney Walker’s Criticisms, Vol. ii. p. 139.
Note IV.
[i. 2. 147], 149. It does not seem necessary to make any change in the text here. Perhaps Shakespeare wrote the prose parts of the play hastily, or it may be that Orlando, who is summoned by Celia, but whose thoughts are fixed upon Rosalind, is made to say ‘them,’ not ‘her,’ designedly.
Note V.
[i. 2. 187.] Before we were aware of Mason’s conjecture, it occurred to us that the sentence would run better thus: ‘An you mean to mock me after, you should not have mocked me before.’ ‘And,’ for ‘an,’ is a more probable reading than ‘if,’ as it may have been omitted by the printer, who mistook it for part of the stage direction—‘Orl. and’ for ‘Orland.’ We have since discovered that Theobald proposed ‘An.’
Note VI.
[i. 3. 92.] See a discussion as to the proper punctuation and meaning of the words ‘No, hath not?’ in Notes and Queries, 1st Ser. Vol. vii. p. 520, and in Mr Singer’s note on this passage. It may be doubted whether the passages quoted by Mr Grant White are apposite to this, where there is a double negative.
Note VII.
[iii. 2. 317.] In the fourth Folio, and in Rowe’s two editions, the word ‘kindled’ happens to be in two lines, and therefore divided by a hyphen. Pope, misled by this, printed it in his first edition as a compound, ‘kind-led,’ interpreting it probably with reference to the gregarious habits of the animal in question.
Note VIII.
[iii. 3. 80]–83. Johnson proposes to arrange these lines as follows:
Clo.... Come, sweet Audrey; we must be married, or we must live in bawdry.
Jaq. Go thou with me, and let me counsel thee. [They whisper.
Clo. Farewell, &c.
Note IX.
[iii. 4. 38.] As the word ‘puisny’ is here used not in the modern sense of ‘diminutive,’ but in the now obsolete sense of ‘inferior, unskilled,’ we think it better to retain the spelling of the Folios.
Note X.
[iv. 2. 12.] The words ‘Then sing him home, the rest shall beare this burthen’ are printed in the Folios as part of the song. Rowe and Pope made no change. Theobald first gave ‘the rest shall bear this burthen’ as a stage direction. Mr Knight, Mr Collier, Mr Grant White and Mr Dyce take the whole to be a stage direction, Mr Grant White reading ‘They sing him home,’ for ‘Then.......’ Mr Halliwell prints ‘Then sing him home, the rest shall bear—This burthen.’ Mr Knight gives in a note the music written for this song by Hilton, and published in 1652. In Hilton’s setting, the words ‘Then sing him home, &c.’ are left out, but that, as Mr Knight implies, is not conclusive as to the original song.
Capell’s arrangement is as follows:
1 v. What......deer?
2 v. His.........wear.
1 v. Then ......home.
BOTH.
Take ......born.
1 v. Thy ........wore it.
2 v. And ........bore it.
CHO.
The horn......scorn.
Note XI.
[iv. 3. 164.] Malone wrongly attributes the reading ‘Sir’ for ‘Sirra’ to the second Folio.
Note XII.
[v. 3. 17.] The Edinburgh MS. mentioned in our footnotes is one in the Advocates’ Library (fol. 18), and the song has been reprinted from it in Chappell’s Collection of National English Airs, ed. 1840, p. 130.
Linenotes-As You Like It
As You Like It, I, 1.
[ 1]: fashion] Ff. my father Hanmer (Warburton). fashion; my father Heath conj. fashion. He Malone (Blackstone conj.). fashion he Ritson conj.
[ 2]: me by] me. By Johnson.
poor a] F1. a poor F2 F3 F4.
[ 3]: charged my brother] my brother charged Seymour conj.
[ 7]: stays] Ff. stys Warburton.
[ 10]: fair] fat Anon. conj.
[ 15], 16: countenance] discountenance Warburton.
[ 23]: Scene ii. Pope.
[ 25]: Enter...] Ff (after line 23).
[ 26]: here] F3 F4. heere F1. heare F2.
[ 31]: be naught] do aught Hanmer. be wrought Jackson conj.
[ 34]: prodigal] prodigal’s Seymour conj.
[ 39]: him] he Pope.
[ 46]: reverence] revenues Anon MS. conj. revenue Hanmer (Warburton). See [note (ii)].
[ 52]: Boys] F1. Boyes F2 F3 F4.
[ 57]: masters] F1. master F2 F3 F4.
[ 63]: from me Ff. me from Pope.
[ 77]: Scene iii. Pope.
grow] growl Anon. ap. Collier conj.
[ 81]: wrestler] wrastler F1 F3 F4. wrastle F2.
[ 85]: [Exit...] Johnson.
[ 88]: Monsieur] morrow, Monsieur S. Walker conj. morrow, Anon. conj.
[ 96]: Duke’s] old Duke’s Hanmer.
[ 98]: Duke’s] new Duke’s Hanmer.
[ 100]: she] F3 F4. he F1 F2.
[ 101]: her] F1 F2. their F3 F4.
[ 111]: came] come F4.
[ 139]: anatomize] F3 F4. anatomise F1 F2.
[ 145]: Oli.] om. F1.
[Exit C.] Exit. Rowe (after line 144). om. Ff.
[ 147]: he] him Seymour conj.
As You Like It, I, 2.
[ Scene ii.] Scene iv. Pope.
Lawn...] Capell. Open walk Theobald.
[ 3]: I were] Rowe (ed. 2). were Ff.
[ 14]: I] me Hanmer.
[ 36]: ill-favouredly] ill-favoured Rowe (ed. 2).
[ 40]: No?] Hanmer. No; Ff.
[ 43]: the] F1 F2. this F3 F4.
[ 44]: there is Fortune] F1 F2. Fortune is there F3 F4.
[ 48]: perceiveth] F1. perceiving F2 F3 F4.
[ 49]: and hath] Malone. hath Ff.
[ 51]: the wits] his wits Reed. the wise Spedding conj.
wit] om. Rowe.
whither] F2. whether F1 F3 F4.
[ 64]: your] you F2.
[ 73]: is’t that] F1 F2 F3. is that F4.
[ 74]: One that old Frederick] One old Frederick that Collier conj.
Frederick] Ferdinand Capell conj. See [note (iii)].
[ 75]: Cel.] Theobald. Ros. Ff.
him: enough!] Hanmer. him enough; Ff.
[ 79]: wise men] F3 F4. wisemen F1 F2. See [note (iii)].
[ 83]: Le Beau] the Beu F1. Le Beu F2 F3 F4.
[ 84]: Scene v. Pope.
[ 87]: Enter Le Beau] F1. Enter Le Beu. F2 F3 F4 (after line 83).
[ 88]: Bon] Boon Ff.
what’s the] F1. what the F2. what F3 F4.
[ 89]: good] om. F3 F4.
[ 90]: Sport!] Spot? Collier (Collier MS.).
[ 93]: decrees] Ff. decree Pope.
[ 106]–108: Le Beau. Three...presence. Ros. With...presents.] Ff. Le Beau. Three...presence. Ros. With...necks. Clo. Be it...presents. Warburton. Le Beau. Three...necks. Ros. Be it...presents. Dyce (Farmer conj.).
[ 122]: breaking] of breaking F4.
[ 125]–127: Ros. But......cousin?] Touch. But...rib-breaking? Ros. Shall...cousin? Anon. conj.
125: see] set Theobald (Warburton). feel Johnson conj. get Heath conj. seek Jackson conj.
[ 129]: for the] F1. for F2 F3 F4.
[ 132]: ...Frederick...] Rowe.
[ 133]: Scene vi. Pope.
[ 142]: in] on Anon. conj.
man] Ff. men Hanmer.
[ 145]: Cel.] Cel. and Ros. Lettsom conj.
[ 147]: princess calls] F4. Princesse cals F1. Princesse calls F2 F3. princesses call Theobald. princess’ call Dyce (S. Walker conj.). See [note (iv)].
[ 149]: them] her Rowe.
[ 153]: but in] F1. but F2 F3 F4. but e’en Edd. conj.
[ 157], 158: your eyes...your judgement,] our eyes...our judgement Hanmer (Warburton).
[ 165]: thoughts; wherein] thoughts. Herein Mason conj. thoughts. Therein Johnson conj. thoughts; Spedding conj.
guilty,] guilty, is Jackson conj.
[ 174]: that] om. Rowe.
[ 181]: in it] it in Boswell.
[ 187]: You] An you Theobald conj. If you Mason conj. See [note (v)].
[ 188]: me] om. F3 F4.
[ 191]: [They wrestle] F3 F4. [Wrastle. F1 F2.
[ 194]: [Shout. Charles is thrown.] Rowe. [Shout. Ff.
[ 209]: [Exeunt...] Capell. [Exit Duke. Ff.
[ 210]: Scene vii. Pope.
[ 223]: as you have exceeded all] as you’ve here exceeded Hanmer. as you have exceeded Capell. as you have excell’d all S. Walker conj.
promise] F1. in promise F2 F3 F4.
[ 224]: [Giving...] Theobald.
[ 225]: out of suits with fortune] out of fortune’s suite Becket conj. out of sorts with fortune Anon. ap. Halliwell conj.
[ 226]: could] would Becket conj.
means] meane F2.
[ 230]: lifeless] Rowe (ed. 2). liveless Ff.
[ 236]: [Exeunt...] Exit. Ff.
[ 239]: Re-enter...] Enter Le Beu. Ff (after line 237).
[ 244]: misconstrues] misconsters Ff.
[ 246]: I] me Rowe.
[ 249]: was] were Hanmer.
[ 251]: taller] Ff. shorter Rowe (ed. 2). smaller Malone. lower Staunton. lesser Spedding conj.
[ 252]: other is] Ff. other’s Pope.
[ 259]: her virtues] virtues F2.
[ 265]: [Exit...] om. Ff.
As You Like It, I, 3.
[ Scene iii.] Scene viii. Pope.
A room...] Capell. An apartment... Theobald.
Enter...] Re-enter... Pope.
[ 7]: there were] were there Anon. conj.
[ 11]: child’s father] Ff. father’s child Rowe (ed. 2).
[ 26]: strong] F1 F2. strange F3 F4.
[ 32]: not] nor F2.
[ 33]: I not] I hate Theobald conj.
he not] F1 F2. not he F3 F4.
[ 34]: Scene ix. Pope.
[ 36]: Enter......] Enter Duke with Lords Ff (after line 33).
[ 37]: safest] fastest Collier MS. swiftest Singer conj.
[ 39]: ten] two Anon. conj.
[ 44]: mine] my Rowe.
[ 53]: likelihood] F2 F3 F4. likelihoods F1.
[ 66]: It...remorse] omitted in Rowe (ed. 1).
[ 72]: inseparable] inseparate Collier MS.
[ 77]: seem] shine Warburton.
[ 86]: Scene x. Pope.
whither] where Pope.
[ 87]: fathers] F1. father F2 F3 F4.
[ 89]: Thou] Indeed, thou Steevens conj.
[ 92]: No, hath not?] Ff. No? hath not? Rowe (ed. 2). No hath not? Singer. No ‘hath not.’ Halliwell conj. See [note (vi)].
[ 93]: thee] me Theobald (Warburton).
am] are Theobald.
[ 98]: your change] F1. your charge F2 F3 F4. the charge Singer conj.
[ 103]: in...Arden] omitted by Steevens, reading Why...uncle as a verse.
[ 105]: forth so far] F1 F3 F4. for farre F2.
[ 108]: smirch] F1. smitch F2. smutch F3 F4.
[ 120]: worse a] Ff. worser Collier MS.
[ 122]: be] by F1.
[ 133]: we in] F2 F3 F4. in we F1. away or in true Anon. conj.
As You Like It, II, 1.
[ 1]: brothers] F1. brother F2 F3 F4.
[ 5]: but] Theobald. not Ff. yet Staunton conj.
[ 6]: as] or Collier MS. at Staunton conj.
[ 18]: I would not change it. Ami. Happy] Dyce (Upton conj.). Amien. I would not change it, happy Ff.
[ 31]: root] roote F1. roope F2. roop F3 F4.
[ 42]: the extremest] th’ extremest Ff.
[ 45]: into] Ff. in Pope.
[ 49]: had] hath Singer (Collier MS.).
much] F2 F3 F4. must F1.
there] F1. om. F2 F3 F4.
[ 50]: friends] Rowe. friend Ff.
[ 59]: the country] F2 F3 F4. countrie F1. country, of Anon. conj.
[ 62]: to kill] kill Collier MS.
up] too De Quincy MS.
As You Like It, II, 2.
[ 8]: roynish] roguish Staunton conj.
[ 10]: Hisperia] Ff. Hesperia Warburton.
[ 17]: brother] brother’s Mason conj.
[ 20]: quail] fail Lloyd conj.
As You Like It, II, 3.
[ Scene iii. Before O.’s house] Capell. O.’s house. Rowe.
...meeting] Capell. om. Ff.
[ 8]: bonny] F2 F3 F4. bonnie F1. boney Warburton.
[ 10]: some] seeme F1.
[ 15]: bears] wears Anon. conj.
[ 16]: Orl.] om. F1.
[ 17]: within] with F2.
within this] beneath this Capell conj.
[ 29]: Orl.] Ad. F1.
[ 30]: so] F1. for F2 F3 F4.
[ 37]: blood] proud Collier MS.
[ 39]: your] F1. you F2 F3 F4.
[ 41]: lie] be De Quincy MS.
[ 49]: in] to Capell conj.
[ 50]: not] I Rowe.
[ 57]: service] favour Collier MS. temper Lettsom conj.
[ 58]: service] servants Anon. ap. Halliwell conj.
[ 71]: seventeen] Rowe. seauentie F1. seventy F2 F3 F4.
[ 74]: it...week] too late: it is a-weak Becket conj.
As You Like It, II, 4.
[ Scene iv...Enter...] Enter Rosaline...and Clowne, alias Touchstone. Ff.
[ 1]: weary] Theobald (Warburton). merry Ff.
[ 8]: cannot] F1. can F2 F3 F4.
[ 13]: Arden] a den Upton conj.
[ 16], 17: S. Walker would read as verse Ay, Be so...here; A young...talk.
16: Enter C. and S.] Ff (after line 15).
[ 24]: ever] F1. ere F2 F3 F4.
[ 30]: ne’er] Rowe. never Ff.
[ 34]: sat] F1. sate F2 F3 F4. spake Collier MS.
[ 35]: Wearing] F1. Wearying F2 F3 F4. Wear’ing Grant White.
[ 39]: [Exit.] F1. Exeunt. F2 F3 F4.
[ 41]: of thy wound] Rowe. of they would F1. of their wound F2 F3 F4.
[ 45]: a-night] a night F1. a nights F2 F3 F4. o’ nights Capell. o’ night Malone.
[ 46]: batlet] F2 F3 F4. batler F1.
[ 48]: cods] peas Johnson conj.
[ 56]: Jove, Jove] Love, Love Collier (Collier MS.).
[ 57]: much upon] too much on Collier (from Collier MS).
[ 58]: After this line Collier (from Collier MS.) inserts And begins to fail with me.
[ 59]: yond] you’d Ff.
[ 63]: are they very] they are Rowe (ed. 1) they are very Rowe (ed. 2). they’re very Hanmer.
[ 64]: you,] your F1.
[ 73]: shepherd] a shepherd Rowe.
[ 76]: recks] Hanmer. wreakes F1 F2. wreaks F3 F4.
[ 78]: cote] Hanmer. coate F1 F2. coat F3 F4.
[ 89], 90: Arranged as in Cappell. As three lines ending wages...could...it Ff. As three lines ending wages...waste...it Rowe (ed. 2).
89: wages] wage Lloyd conj.
[ 94]: feeder] factor W. Walker conj.
As You Like It, II, 5.
[ 1]: Ami.] Capell. om. Ff.
greenwood] greenhood F4.
[ 3]: turn] F3 F4. turne F1 F2. tune Rowe (ed. 2).
[ 6]: Here] Cho. Here Capell.
he] we Capell (corrected in MS.).
[ 11]–13: Printed in Ff as three lines ending more...song...more.
[ 14]: ragged] rugged Rowe.
[ 16]: Come, more] Come, come Rowe.
stanzo...stanzos] stanza...stanzas Steevens (Capell conj.). stanze...stanzes Anon. conj.
[ 18]: owe] F1. owne F2. own F3 F4.
[ 22]: compliment] complement Ff.
[ 28]: drink] dine Rowe.
[ 30]–33: And......them] Printed as four lines ending him...company:...give...them. in Ff. First as prose by Pope.
[ 34]: [All together...] Altogether... Ff. om. Rowe.
[ 35]: live] lye F4.
[ 39]: Here] Cho. Here Capell.
39–41: Here......weather] F3 F4. Heere shall he see, &c. F1 F2.
39: he] you Rowe.
[ 44], 45: Ami. And...it. Jaq. Thus it goes] Amy. And Ile sing it. Amy. Thus it goes. F1.
[ 50], 54: Ducdame.........ducdame] Duc ad me....Duc ad me Hanmer. Huc ad me...Huc ad me Anon. ap. Steevens conj.
[ 53]: to me] to Ami. Steevens (Farmer conj.). to the same Anon. conj.
As You Like It, II, 6.
[ 1]–3: Printed as three verses ending further...downe...master in Ff. First as prose by Pope.
1: I die] I die, I die S. Walker conj., making three lines ending O...down...master.
[ 4]–16: Printed as seventeen lines in Ff. First as prose by Pope.
[ 5]: comfort] comfort thee Anon. conj.
[ 8]: comfortable] comforted Collier MS. (Caldecott).
[ 9]: here be] be here Rowe.
[ 10]: I will] I’ll Pope.
[ 12]: cheerly] F4. cheerely F1 F2 F3. cheerily Reed.
As You Like It, II, 7.
[ Scene vii. A table set out] Rowe.
Enter...] Enter Duke Sen. & Lord,... Ff.
[ 10]: After this line Capell inserts And cannot have ’t?
[ 13]: miserable world] miserable varlet Hanmer (Warburton). miserable word Becket conj. miserable!—well,— Jackson conj. miserable ort Hunter conj.
[ 25]: one] an Reed (1803).
[ 31]: deep-contemplative] Reed.
[ 34]–36: A worthy...O worthy] O worthy...A worthy Anon. conj.
[ 53]: He that] He whom Pope.
[ 54], 55: Doth very foolishly,...Not to seem] Doth, very foolishly...Seem Whiter conj.
[ 55]: Not to seem senseless] Theobald (Warburton). Sceme senselesse Ff. But to seem senseless Collier (Collier MS.). Seem else than senseless or Seem less than senseless Anon. conj.
[ 56]: wise man’s] Wise-man’s F1 F2 F3. wise-man’s F4.
[ 64]: sin] fin F1.
[ 66]: sting] sty Johnson conj.
[ 73]: weary very means] F3 F4. (meanes F3). wearie verie meanes F1 F2. very very means Pope. weary venom means Jackson conj. very wearing means Collier conj. very means of wear Collier MS. wearer’s very means Singer. weary-very means or very-weary means Staunton conj. tributary streams Lloyd conj.
[ 83]: There then; how then? what then?] There then, how then, what then, Ff. There then; how, what then? Capell. Where then? how...then? Malone conj.
what then? Let me] Let me then Hanmer.
[ 87]: any....comes] F2 F3 F4. any man. But who come F1.
Enter......drawn.] Theobald. Enter Orlando. Ff.
[ 90]: Of what] What Capell conj.
come of] come Rowe.
[ 95]: hath] F1. that hath F2 F3 F4.
ta’en] torn Johnson conj.
[ 100], 101: Printed as verse, ending reason...die in Ff. First as prose by Capell. If...not Be...die Pope.
100: An] And Ff. If Pope.
answered] answer’d Ff.
reason] reasons Staunton conj.
[ 102], 103: As three lines ending have?...your force...gentleness in Ff.
[ 109]: commandment] command’ment Ff.
[ 119]: blush] F1. bush F2 F3 F4.
[ 125]: command] demand Johnson conj. commend Collier (Collier MS.).
[ 130]: a] om. F4.
[ 132]: Oppressed....hunger] Should follow line 129. Anon. conj.
[ 135]: [Exit.] Rowe. om. Ff.
[ 139]: Wherein we play in] Wherein we play Pope. Which we do play in Capell conj.
Wherein... Jaq. All] Wherein in we play. Jaq. Why, all Steevens conj. wherein we play. Jaq. Ay, all Anon. conj.
[ 141]: exits] Exits (in italics) Ff.
[ 143]: ages] labours Mason conj.
At first] As first Capell conj. Act first or First Anon. conj.
[ 145]: Then] And then Rowe (ed. 2). Then there’s Anon. conj.
[ 150]: pard] Pand Anon. conj.
[ 161]: shank] F3 F4. shanke F1 F2. shanks Hanmer.
[ 167], 168: Welcome...feed] Printed as prose in Ff.
[ 174]: Ami.] Amiens sings. Johnson. om. Ff.
[ 175]–178: As two lines in Ff.
[ 178]: Because] Beside, Becket conj.
Because...seen] Thou causest not that teen Hanmer. Because the heart’s not seen Farmer conj. Because thou art foreseen Staunton conj.
seen] sheen Warburton.
[ 182]: Then,] Rowe. The Ff.
[ 184]–189: As four lines in Ff.
[ 189]: remember’d] remembering Hanmer.
[ 198]: master] masters F1.
As You Like It, III, 1.
[ Scene i. A room...] Capell.
Duke F.] Duke, F1.
[ 1]: see] seen Singer (Collier MS.).
[ 3]: seek] F1. see F2 F3 F4.
As You Like It, III, 2.
[ Scene ii. Enter...paper] Capell. Enter Orlando. Ff.
[ 11]: Scene iii. Pope.
[ 25]: good] pood F1.
[ 28]: good] bad Hanmer. gross Warburton.
[ 33]: hope.] hope— Rowe.
[ 41]: Touchstone] Mr. Touchstone Capell.
[ 50]: a mutton] F1. mutton F2 F3 F4.
[ 54]: more sounder] sounder Pope.
[ 56]: courtier’s] countiers F2.
[ 59]: flesh indeed!] flesh indeed: Ff. flesh: indeed!— Steevens.
[ 71]: bawd] F1 F2. a bawd F3 F4.
[ 76]: Master] M^r Ff.
[ 77]: Scene iv. Pope.
Enter R....reading.] Capell. Enter Rosalind. Ff.
[ 78]: western] the western Pope.
[ 82]: lined] Linde F1 F2 F3. Lind F4. limn’d Capell.
[ 84]: face] fair S. Walker conj.
[ 85]: the fair of] F1 F2. the most fair F3 F4. the face of Rowe (ed. 2). of the fair Becket conj.
[ 88]: rank to] F3 F4. ranke to F1 F2. rate to Hanmer. rant at Grey conj.
[ 95]: Winter] F3 F4. Wintred F1 F2.
[ 99]: nut] F1 F2. meat F3 F4.
[ 112]: forest] forester Warburton.
[ 113]: Scene v. Pope.
[ 115]: [reads] om. Ff.
a desert] Rowe. desert Ff. desert silent Steevens (Tyrwhitt conj.).
[ 129]: The] F1 F2. This F3 F4.
[ 131]: charged] charg’d F1 F2. chang’d F3 F4.
[ 135]: cheek] cheeke F1 F2. cheeks F3 F4.
her] Rowe. his Ff.
[ 145]: pulpiter] Edd. (Spedding conj.). Jupiter Ff. Juniper Warburton.
[ 147]: cried] cride, have your parishiones withall, and never cri’de F2.
[ 148]: back, friends] back-friends Theobald.
[ 152]: [Exeunt C. and T.] Exit. Ff.
[ 153]: Scene vi. Pope.
[ 162]: the wonder] F1 wonder F2 F3 F4.
[ 163], 164: palm-tree] plane-tree Collier conj.
[ 164]: Pythagoras’] Pythagoras. Ff. Pythagoras’s Rowe.
[ 168]: And] Ay, and Capell.
[ 169]: you] F1 F2. your F3 F4.
[ 177]: tell] till F2.
[ 180]: hooping] F1 F2 F3. hoping F4. whooping Theobald.
[ 181]: Good my] Odd’s my Theobald. Good! cry Becket conj. Goad my Jackson conj. Hood my Staunton conj.
complexion] coz perplexer Heath conj.
[ 182]: hose] F1. a hose F2 F3 F4.
[ 183], 184: South-sea of discovery;] South-sea off discovery. Theobald (Warburton). South-sea Discover, Johnson conj. South-sea discovery: Id. conj. south-sea-off discovery. Capell.
[ 184]: who is it] who is it? Hanmer. who it is Anon. conj.
[ 200]: maid] mind Anon. conj.
[ 210]: Gargantua’s] Garagantua’s Pope.
[ 212]: in] om. Heath conj.
[ 216]: wrestled] wrastled F1 F3 F4. wrasted F2.
[ 217]: atomies] F1 F2. atomes F3 F4. atoms Rowe.
[ 219]: good] a good Steevens.
219, 220: a tree] an oak-tree Hanmer (Warburton conj.).
[ 221], 222: drops forth such] F2 F3 F4. droppes forth F1. drops such Capell.
[ 229]: thy tongue] Rowe. the tongue Ff.
[ 230]: unseasonably] very unseasonably Reed (1803).
[ 231]: heart] Hart Ff.
[ 236]: Scene vii. Pope.
here] heere F1. nerre F2. near F3 F4.
Enter...] Ff (after line 235).
[ 242]: buy] Ff. b’w’ Rowe.
[ 246]: more] moe F1.
[ 258]: you] your Mason conj.
right] right in the stile of the Hanmer.
[ 259]: your] you F2.
[ 264]: most] F1. no F2 F3 F4.
[ 276]: Scene viii. Pope.
[ 277]: [Exit...] om. Ff.
[ 280]: [Advances. Capell.
[ 290]: paces] F1 F2. places F3 F4.
[ 294]: who] F1. whom F2 F3 F4.
doth he trot] ambles Time Hunter conj.
[ 295]: trots hard] ambles Id. conj.
[ 297]: hard] ambling Id. conj.
[ 298]: year] years F4.
[ 299]: ambles Time] doth he trot Hunter conj.
[ 305]: ambles] trots Hunter conj.
[ 306]: Who] F1. Whom F2 F3 F4.
[ 309]: Who] F1. Whom F2 F3 F4.
stays it] stands he Collier (Collier MS.).
[ 317]: kindled] kind-led Pope. See [note (vii)].
[ 323]: lectures] F3 F4. lectors F1. lecturs F2.
[ 324]: and] om. F3 F4.
[ 330]: one] F1 F2. ones F3 F4.
[ 331]: monstrous] most monstrous S. Walker conj.
[ 335]: barks] borkes F2.
[ 337]: deifying] F2 F3 F4. defying F1.
[ 344]: are] art F1.
[ 346]: blue] flu Becket conj.
[ 349], 350: in beard] F1. no beard F2 F3 F4.
[ 354]. accoutrements] Rowe. accoustrements Ff.
[ 384]: his mad...living] Ff. a dying...living Johnson conj. a mad...loving Id. conj.
living humour of madness] humour of loving madness Farmer conj.
[ 388]: clean] F1. cleare F2. cleer F3. clear F4.
As You Like It, III, 3.
[ Scene iii.] Scene ix. Pope.
...behind.] om. Ff.
[ 2]: how] F1 F2. now F3 F4.
[ 4]: features!...what features] feature!...what’s feature Farmer conj.
[ 11]: reckoning] reeking Hanmer.
[ 17], 18: what they...feign] what they swear as lovers, they may be said to feign as poets Johnson conj.
[ 18]: may] it may Collier (Mason conj.).
[ 30]: foul] faule F2.
[ 32], 33: I am foul] I am full Tyrwhitt conj. for my foulness Ritson conj.
[ 41]: may] might Collier MS.
[ 43]: horn-beasts] horne-beasts F1 F2. horn’d beasts S. Walker conj.
[ 48]: Horns?......alone?] Theobald. horns, even so poor men alone: Ff. Horns!, never for poor men alone? Singer. Are horns given to poor men alone? Collier (Collier MS.). Horns? ever to poor men alone? Dyce. Horns are not for poor men alone. Spedding conj.
[ 50]: more] om. Pope.
[ 62]: What-ye-call’t] What ye call Rowe (ed. 2).
[ 63]: God ’ild] Theobald. goddild F1. godild F2 F3 F4.
[ 67]: bow] bough Capell.
[ 68]: her] F1 F2. his F3 F4.
[ 80]: Johnson proposes to place this line after line 82. See [note (viii)].
[ 83]: Master] Sir Warburton.
83, 84: not,—O sweet] Not, o sweet Capell.
[ 84]–86, 88–90: Printed as prose in Ff, as verse by Johnson (Warburton conj.).
[ 86]: behind thee] behi’ thee Steevens (Farmer conj.)
[ 87], 88: but,—Wind] But wind Capell.
[ 88]: Wind] Wend Collier (Johnson conj.).
[ 90]: with thee] wi’ thee Steevens (Farmer conj.). bind thee Collier (Collier MS.). with thee to-day Johnson conj.
[Exeunt J. T. and A.] Exeunt. Ff (after line 92).
As You Like It, III, 4.
[ Scene iv.] Scene x. Pope.
[ 12]–16: Ros. And...bread. Cel. He...them] Ros. And his kissing— Cel. Is as...them. S. Walker conj.
[ 13]: bread] beard Theobald (Warburton).
[ 14]: cast] F1. chast F2 F3 F4.
[ 15]: winter’s] Winifred’s Theobald conj.
[ 27]: a lover] F2 F3 F4. lover F1.
[ 29]: confirmer] Ff. confirmers Pope.
[ 38]: puisny] Ff. puny Capell. See [note (ix)].
spurs] spurnes F2.
[ 39]: noble goose] nose-quill’d goose Hanmer. noble joust Becket conj.
[ 40]: guides] guider F2.
[ 43]: Who] F1. Whom F2 F3 F4.
[ 52]: Bring us to] Ff. Bring us but to Pope. Come, bring us to Capell. Bring us unto Malone.
As You Like It, III, 5.
[ Scene v.] Scene xi. Pope.
[ 1]: Phebe;] Rowe. Phebe F1 F2. Phebe, F3 F4.
[ 7]: dies and lives] Ff. deals and lives Theobald (Warburton). lives and thrives Hanmer. dies his lips Johnson conj. daily lives Heath conj. eyes, and lives Capell. dyes, and lives Steevens. lives and dies Tollet conj. dines and lives Collier. kills and lives Collier MS.
drops] props F2.
...behind] om. Ff.
[ 11]: pretty, sure] Theobald. pretty sure Ff.
[ 17]: swoon] swound Ff.
[ 22]: but] om. F1.
[ 23]: capable] Ff. palpable Singer.
[ 26]: Nor] Now De Quincey MS.
[ 27]: O dear] O my dear Hanmer.
[ 29]: meet] F1 met F2 F3 F4.
[ 35]: [Advancing. Capell.
[ 36]: and all at once] and rail at once Theobald (Warburton). and domineer Hanmer. à l’outrecuidance Forbes conj.
[ 37]: have no] have Theobald (L. H. conj.). have some Hanmer. had more Mason conj. have mo Malone.
37, 38: no...As] more... Yet De Quincey MS.
[ 44]: my] F1. mine F2 F3 F4.
[ 46]: black silk] black-silk Capell.
[ 48]: entame] entraine Warburton conj.
[ 53]: makes] make Pope.
[ 54]: flatters] flatter Pope.
[ 62]: being foul] being found Warburton.
[ 66]–69: Printed in Ff as four lines, ending she’ll...fast...sauce...me? as prose by Pope.
66: your] her Hanmer.
[ 79]: Come, to] F1 F2. Come to F3 F4.
[Exeunt...] Exit. Ff.
[ 80]: Dead] F1. Deed F2 F3 F4. ’Deed, Hanmer.
[ 99]: I in] F1. in F2. om. F3 F4.
And...grace] And such a poverty of grace attends it Rowe.
[ 102]: loose] F1 F2 F3. lose F4.
[ 104]: erewhile] F4. yerewhile F1 F2 F3.
[ 107]: carlot] Carlot Ff (in italics).
[ 117]: very] om. Capell.
[ 127]: I have] F2 F3 F4. Have F1. Have much Staunton conj.
[ 137]: and] om. Capell.
As You Like It, IV, 1.
[ 1]: be] om. F1.
[ 17]: in which my] and which by Malone.
my] by F1.
[ 18]: in] is Steevens.
[ 23]: my] om. Rowe. me Warburton.
[ 26]: Enter...] Ff (after line 23).
[ 28]: Jaq.] Orl. F2.
buy] Ff. b’w’y Rowe.
[ 29]: [Exit.] F2 F3 F4. om. F1. [Exit Jaques. Dyce, after gondola, line 34.
[ 34]: gondola] Pope. gundello Ff. gondallo Rowe.
[ 42]: thousandth] Rowe. thousand Ff.
[ 51]: make] can make Hanmer.
[ 54]: beholding] beholden Pope.
comes] F1 F4. come F2 F3.
in his] against Anon. conj.
[ 55]: fortune] forehead Anon. conj.
[ 60]: leer] lure Becket conj.
[ 65]: Ros.] Orl. F2.
[ 68]: warn] ward Steevens conj. warr’nt Anon. conj.
[ 75]: think...ranker] thank...rather Collier (Collier MS.).
[ 76]: of] out of Collier MS.
[ 82]: die] F1 F4. doe F2 F3.
[ 86]: brains] F1. brain F2 F3 F4.
[ 91]: him] F1. om. F2 F3 F4.
[ 93]: chroniclers] F2 F3 F4. chronoclers F1. coroners Hanmer (Anon. conj.).
Sestos] Cestos F1.
[ 117]: Ay] om. F3 F4.
[ 119]: Ros.] Cel. Anon. conj.
[ 122]: I...commission] Printed as a verse in Ff.
[ 123]: there’s] there Steevens (Farmer conj.). thus Lloyd conj.
[ 139]: thou art] you are Rowe (ed. 2).
sleep] weep Warburton.
[ 144]: doors] doors fast Rowe (ed. 2).
[ 146]: ’twill] it will F4.
[ 149]: wilt] F3 F4. wil’t F1 F2.
[ 156]: occasion] accusation Hanmer. accusing Collier (Collier MS.). confusion Staunton conj.
[ 157]: she will...like a fool] she’ll...a fool Capell.
[ 171]: pathetical] atheistical Warburton. jesuitical Grey conj.
[ 179]: try] try you Collier MS.
[ 180]: Scene iii. Pope.
[ 188]: it] in F1.
[ 193]: I’ll tell] I tell Edd. conj.
[ 194]: Orlando] Orland F2.
As You Like It, IV, 2.
[ Scene II.] Scene iv. Pope.
Enter...] Rowe. Enter Jaques and Lords, Forresters. Ff. Enter J. and Lords, in the habit of foresters. Steevens.
[ 2]: A Lord] Lord. Ff. 1 F. Capell. 1 Lord. Malone.
[ 7]: For.] Rowe. Lord. Ff. 2 F. Capell. 2 Lord. Malone.
[ 10]: Song.] Musicke, Song. Ff.
[ 12]: Then sing him home] See [note (x)].
[ 13]: the horn] the horn, the horn, the horn Theobald. the horn, the lusty horn Capell.
[ 16]: And thy father] And thy own father Hanmer. Ay, and thy or Ay, and his Capell conj.
As You Like It, IV, 3.
[ Scene iii.] Scene v. Pope.
[ 1]–5: How...here] Printed in Ff as five lines, ending clock...Orlando...brain...forth...here.
[ 2]: and here much Orlando] Ff. I wonder much Orlando is not here Pope. and how much Orlando comes? Capell. and here’s much Orlando Steevens. and here’s no Orlando Ritson conj. and here mute is Orlando Jackson conj.
[ 5]: Enter...] Ff (after line 3).
[ 7]: bid] F2 F3 F4. did bid F1.
[ 8]: know] F1. knew F2 F3 F4.
[ 11]: tenour] Theobald. tenure Ff.
[ 18]: do] F1. did F2 F3 F4.
[ 22]: Phebe did write it] Phebe did write it, with her own fair hand Mason conj.
[ 23]: turn’d into] turned in Capell conj. turn’d so in the Id. conj.
[ 26]: on] F1 F4. one F2 F3.
[ 33]: women’s] Ff. woman’s Rowe.
[ 54]: chid] chide Rowe.
[ 57]: this] that Rowe (ed. 2).
[ 68]: strains] F1. strings F2 F3 F4.
[ 70]: snake] sneak Becket conj.
[ 79]: brings] F1. bring F2 F3 F4.
[ 85]: and] but Lettsom conj.
[ 86]: ripe sister] right forester Lettsom conj.
the] F1 but the F2 F3 F4.
[ 88]: owner] owners Capell conj.
[ 92]: this] kis Warbuton.
[ 96]: handkercher] handkerchief Rowe.
[ 99]: an hour] two hours Hanmer.
[ 100]: food] cud Staunton.
[ 103]: oak] Pope. old oake Ff.
[ 112]: which] F1. whose F2 F3 F4.
[ 122]: amongst] ’mongst Rowe (ed. 2).
[ 132]: Was’t you he rescued] Was’t...rescu’d Ff. Was it...rescu’d Warburton.
[ 140]: As how] As, how Reed. After this line Capell supposes two lines to be lost, e.g. How, in that habit; what my state, what his; And whose the service he was now engag’d in.
[ 141]: In] F2 F3 F4. I F1.
[ 154]: his] F2 F3 F4. this F1.
[ 155]: [R. swoons.] om. Ff.
[ 158]: There is more in it] F1 F2. There is no more in it F3 F4. There is no more in ’t Pope.
Cousin Ganymede!] Cosen Ganimed. Ff. (cosin F4). Cousin—Ganymed! Johnson.
[ 160]: I would] Would Pope.
[ 164]: sirrah] sirra Ff. sir Pope. See [note (xi)].
[ 168]: a passion] F1. passion F2 F3 F4.
As You Like It, V, 1.
[ 29]: wise man] wiseman Ff. See [note (iii)].
[ 34]: sir] sit F1.
[ 48]: or, to wit] to wit Steevens (Farmer conj.).
[ 52]: policy] F2 F3 F4. police F1.
[ 56]: seeks] F3 F4. seekes F1 F2. seek Rowe.
As You Like It, V, 2.
[ 4]: persever] F1 F2. persevere F3 F4.
[ 7]: nor her] Rowe. nor Ff.
[ 12]–15: Printed as five lines ending consent...I...followers:...you,...Rosalinda in Ff.
[ 13]: all’s] Ff. all his Pope.
[ 15]: Enter R.] Ff (after line 11).
[ 17]: And you] And you, and your Johnson conj.
[Exit.] Capell. om. Ff.
[ 25]: swoon] sound F1 F2 F3. swound F4.
handkercher] handkerchief F4.
[ 28]: fight] sight F4.
[ 29]: overcame] overcome F1.
[ 52]: I say] (I say) Ff.
[ 56]: year] F3. yeare F1 F2. years F4.
[ 58]: cries it] crieth Capell conj.
[ 59]: shall you] F1 F2. you shall F3 F4.
[ 64]: meanings] meaning S. Walker conj.
[ 69]: Scene iii. Pope.
[ 75]: Look...you] Look on him, love him, for he worships you Anon. conj.
[ 77]: all made] F1 F2. made all F3 F4.
[ 82]: all made] Ff. made all Rowe.
[ 89]: observance] F1 F3 F4. obserbance F2. obedience Dyce (Collier MS.).
[ 91]: observance] Ff. obeisance Ritson conj. obedience Malone conj. perseverence Heath conj. endurance Harness conj. deservance Nicholson conj.
[ 99]: Who...to] Rowe. Why...too Ff. Whom...to Singer.
[ 103], 108, 110: To Sil.] Pope. om. Ff.
[ 104], 105: To Phe.] Pope. om. Ff.
[ 105]: all together] F4. altogether F1 F2 F3.
[ 106], 110: To Orl.] Pope. om. Ff.
[ 107]: satisfied] satisfy Douce conj.
[ 113]–115: Printed as a verse by Reed.
As You Like It, V, 3.
[ Scene iii.] Scene iv. Pope.
[ 11]: the only] only the Capell conj. your only Grant White.
[ 17]: In the] Ff. In Knight (Edinburgh MS.). See [note (xii)].
the only...ring] Edinburgh MS. and Steevens conj. the onely...rang Ff. the pretty spring Rowe (ed. 2). the only...rank Johnson (ed. 2). the pretty ring Steevens conj. the only...range Whiter conj. the only...spring Harness conj.
[ 22]: folks] fools Edin. MS.
would] did Edin. MS.
[ 23]: In] F1 F2 and Edin. MS. In the F3 F4.
[ 24]: This] F1 F2 and Edin. MS. The F3 F4.
[ 26]: a life] Ff and Edin. MS. life Hanmer.
[ 27]: In] F1 F2 and Edin. MS. In the F3 F4.
[ 28]–31: Placed after line 19 in Ff. Transferred by Johnson (Thirlby conj.); so in Edin. MS.
28: And...time] Then prettie lovers take the tym. Edin. MS.
[ 33]: untuneable] untunable Ff. untimeable Theobald.
[ 34], 35: time...time] tune...tune S. Walker conj.
[ 37]: buy you] Ff. b’ w’ you Rowe.
As You Like It, V, 4.
[ Scene iv.] Scene v. Pope.
Celia.] Colia. F2.
[ 4]: that fear] that think Hanmer.
fear they hope...they fear] fear their hap...their fear Warburton. fear with hope and hope with fear Johnson conj. fear, they hope, and now they fear Id. conj. fear their hope, and know their fear. Capell (Heath conj.). feign they hope, and know they fear. Blackstone conj. fear, then hope; and know, then fear Musgrave conj. fearing hope, and hoping fear Mason conj. hope they fear, then know they fear Becket conj. fear the hope, and know the fear Jackson conj. fear may hope, and know they fear Harness conj. fear; they hope, and know they fear Delius (Henley conj.). fear to hope and know they fear Collier MS.
[ 5]: urged] heard Collier MS.
[ 21]: your] Pope. you your Ff.
[ 25]: even.] even—even so Collier (Collier MS.)
[Exeunt R. and C.] Exit Ros. and Celia. Ff.
[ 33]: Whom] F1 F2. Who F3 F4.
Enter T. and A.] Enter Clowne and Audrey. Ff (after line 33).
[ 35]: Scene vi. Pope.
[ 36], 37: very strange] unclean Hanmer (Warburton).
[ 48]: was] was not Johnson conj.
[ 50]: seventh] F1 F2. the seventh F3 F4.
[ 53]: you of] of you Warburton.
[ 55], 56: binds...breaks] bids...bids break Warburton.
[ 61]: fool’s] F4. fooles F1 F3. foles F2.
and such] in such Farmer conj.
61, 62: Touch. According...diseases.] Jaq. According......sir. Touch. And...diseases— S. Walker conj.
[ 62]: diseases] discourses Johnson conj. phrases Mason conj. discords Anon. conj.
[ 76]: I lie] I ly’d Capell.
76, 77: so to the] F2 F3 F4. so ro F1. so the Rowe.
[ 93]: take up] make up De Quincey MS.
[ 98]: as] om. Rowe.
[ 104]: Atone] Attone Ff.
[ 108]: her hand] F3 F4. his hand F1 F2.
[ 109]: his bosom] her bosom Malone.
[ 113]: sight] shape Johnson conj.
[ 114], 115: Printed as one line in Ff.
[ 134]: these things] thus we Collier MS.
[ 140]: of] in Collier MS.
[ 142]: daughter, welcome,] F4. daughter welcome, F1 F2 F3. daughter-welcome Theobald.
[ 144]: Enter Jaques de Boys.] Rowe. Enter Second Brother. Ff.
[ 158]: them] Rowe. him Ff.
[ 161]: brothers’] Capell. brothers F1 F2 F3. brother’s F4. brothers, Reed.
[ 169]: states] ’states Collier.
[ 180], 182, 183, 184, 185: Stage directions not in Ff.
[ 181]: deserves] deserve Pope.
[ 191]: we will] F2 F3 F4. wee’l F1.
[ 192]: As] And Reed.
trust they’ll end, in] Pope. trust, they’l end in Ff.
[A dance.] Capell. Exit. F1. om. F2 F3 F4.
[Epilogue.] Warburton. Seymour supposes what follows to be spurious.
[ 6]: then] tho’ Kenrick conj.
[ 7]: cannot] can Pope.
[ 12]: please you] F1 F2. pleases you F3 F4. pleases them Hanmer (Warburton). please them Steevens.
and I] and so I Steevens (Farmer conj.).
[ 14]: hates] hate Pope.
them] them) to like as much as pleases them Hanmer (Warburton).
[ 20]: [Exeunt.] F2 F3 F4. [Exit. F1.
ADDENDA.
Love’s Labour’s Lost, iv. 1. 92. Monarcho] mammuccio Hanmer.
A Midsummer-Night’s Dream, iv. 1. 205. a patched] Ff. patcht a Qq.
CAMBRIDGE: PRINTED AT THE UNIVERSITY PRESS.
TRANSCRIBER'S ENDNOTES.
Original printed spelling and grammar are generally retained. Poetry indents were sized using a monospace font. Proportional fonts will render the indents less accurately. For handheld formats, such as epub, small caps are converted to all caps. The transcriber created the cover image, and assigns it to the public domain.
Linenotes are moved from the end of each page to the end of each play, after the general NOTES for the play. Line breaks in poetry passages are generally unchanged. However, words originally broken by a hyphen over two lines are rejoined on one line. Prose passages are allowed to rewrap.
Line numbers are from the original text, and should be nearly exact in poetry sections, but will be approximate in prose sections, depending on user and browser settings. Ellipses look like the original, unless the original was at a line-break that has been eliminated in this version—for example, in prose, linenote, footnote, or general note.
Preface
[Section 4.], The Merchant of Venice.: the phrase "July 22, 1598. James Roberts) A booke" was changed to "July 22, 1598. (James Roberts) A booke".
Much Ado About Nothing
[II. 3. 100]: the printed line number was misplaced, one down; moved it up.
Love's Labour's Lost
[V. 2. 917]: the linenotes printed for lines 912 and 913 actually refer to lines 917 and 918; the text herein has been altered to this effect.
Midsummer-Night's Dream
[III. 2. 204]: the original linenote here erroneously said "See note iii", but is herein corrected to Note v.
[IV. 1. 1]: the linenote here erroneously said "See note (v)", herein altered to vi.
[IV. 1. 7–8]: the linenote is changed from "See note vi" to "See note vii".
[V. 1. 0]: the linenote "Enter...] see note (viii)." was originally indented under linenote 40 of IV. 2 (the last linenote of the scene), but clearly refers to the beginning of V. 1, where it has been placed.
[V. 1. 105]: the line number was misplaced, up one line. It has been moved to the line "In least speak...".
[V. 1. 139]: the linenote said "conjectures th a line"; herein changed "th " to "that".
[Play Note II]: "andhe" changed to "and he".
[Play Note XIII]: the reference is to lines V. 1. 408, 409, changed from "406, 407".
Merchant of Venice
[IV, 1. 74]: in the printed linenote there is a smudge and something missing between "bleat" and "the" in Hanmer's rendering. Furthermore, the presumed "t" in "bleat" is not clearly printed and may be something else, perhaps a "c". The transcriber renders this phrase "When you behold the ewe bleat for the lamb; Hanmer.", but there is significant doubt about it.
[Play Note XIV]: the reference is changed from IV. 1. 210 to IV. 1. 209.
As You Like It
[Play Note V]: "I. 2. 181" changed to "I. 2. 187".
Addenda
[ These two linenotes] have been copied to their appropriate locations amongst the linenotes.