"But wend away,
Begone, I say,

I will not to wedding bind thee."

But there is no reason to suppose that a rhyme in the last line was intended by Shakespeare; for it would seem that Touchstone is citing two distinct portions of the ballad. Nor can we doubt that "Wind away" was the reading of the old ditty: compare The History of Pyramus and Thisbie,

"That doone, away hee windes, as fier of hell or Vulcan's thunder," &c. The Gorgious Gallery of Gallant Inventions, 1578, p. 171 of the reprint. “Wind” is an early form of "wend.”

P. 49. (96)

"Ros. And his kissing," &c.

Walker (Crit. Exam. &c. vol. iii. p. 64) queries,

"Ros. And his kissing

Cel. Is as full of sanctity as the touch of holy bread: he hath bought," &c.

6

'Sir Thomas Hanmer altered this to a nose-quill'd goose' an epithet likely to be corrupted: it gives the image wanted, and may in a great measure be supported by a quotation from Turberville's Falconrie," &c. FARMER. "By this phrase is perhaps meant 'a magnanimous simpleton of an adventurer.'" CALDECOTT.

P. 50. (100)

66

'Bring us to see this sight," &c.

The folio omits "see,"-which was inserted by Mr. Swynfen Jervis, who compares, "To see this sight, it irks my very soul." Third Part of King Henry VI. act ii. sc. 2.-Qy. “I prove a busy actor," &c.?

P. 51. (101)

"that dies and lives by bloody drops?"

66

Die and live. This hysteron proteron is by no means uncommon : its meaning is, of course, the same as live and die, i.e. subsist from the cradle to the grave.

With sorrow they both die and live

That unto richesse her hertes yeve.'

The Romaunt of the Rose, v. 5789-90.

He is a foole, and so shall he dye and live,

That thinketh him wise, and yet can he nothing.'

The Ship of Fooles, fol. 67, by Alexander Barclay, 1570.

'Behold how ready we are, how willingly the women of Sparta will die and live with their husbands.' The Pilgrimage of Kings and Princes, p. 29.” W. R. ARROWSMITH (Notes and Queries, First Series, vol. vii. p. 542).

Mr. Collier's Ms. Corrector reads "palpable;" which was given by Mr. Singer in his Shakespeare, 1826.

Hanmer prints "That can do any hurt," and in the next speech," O my dear," &c.; Capell," That can do hurt to any."

P. 52. (106)

"That you insult, exult, and all at once,"

Mr. Staunton observes that “and all at once' was a trite phrase in Shakespeare's day;" and he instances;

"Nor never Hydra-headed wilfulness

So soon did lose his seat, and all at once," &c.

King Henry V. act i. sc. 1.

"She wept, she cride, she sob'd, and all at once."

P. 52. (107)

The Fisherman's Tale, 1594, by F. Sabie.

"Does love turn fool, run mad, and all at once?"
Middleton and W. Rowley's Changeling, act iv. sc. 3.

"What though you have some beauty.—

As, by my faith, I see no more in you

Than without candle may go dark to bed,—”

The folio has "What though you hau no beauty," &c.-I adopt Hanmer's correction, which is approved by Walker (Crit. Exam. &c. vol. i. p. 308).—Malone quotes a passage from the novel on which the play is founded, to show that "no beauty" must be wrong: the fact is, "no" was inserted by a mistake of the transcriber or compositor, whose eye caught it from the next line.Mr. W. N. Lettsom (note on Walker's work, ubi supra) would read here "What though you had some beauty," &c., considering the "hau" of the folio to be an error for "had."

The folio has "He is not very tall."-See, on the word "Very interpolated," Walker's Crit. Exam, &c. vol. i. p. 269.

The first folio has "in which by often;" the second folio, "in which my often." -Mr. Swynfen Jervis suggests "on which my often."

The first folio omits to mark the exit of Jaques.—The second folio makes him go out immediately after his preceding speech; and so the modern editors. "The original," says Mr. Grant White, "gives no direction for the exit of Jaques; and the question has been raised, whether he should go out when he takes leave, or just before Rosalind addresses Orlando. It seems plain that in the latter case a charming and characteristic incident would be lost. Rosalind is a little vexed with Orlando for not keeping tryst. She sees him when he first comes in, but purposely does not look at him,-no woman needs to be told why. He speaks, but she, with her little heart thumping at her breast all the while, refuses to notice her lover, and pretends to be absorbed in Jaques; and as he retires, driven off by the coming scene of sentiment, the approach of which he detects, she still ignores the presence of the poor delinquent, and continues to talk to Jaques till a curve in the path takes him out of sight; then turning, she seems to see Orlando for the first time, and breaks upon him with, 'Why, how now?' &c. Well might the old printer of Promos and Cassandra say that there are some speeches 'which in reading wil seeme hard, and in action appeare plaine." All this is, no doubt, very ingenious; but I cannot help thinking that it shows little knowledge of stage-business.-The modern acting-copies of As you like it do not allow Jaques to take any part in the present scene.

P. 57. (117)

"or I should think my honesty ranker than my wit."

Mr. Collier's Ms. Corrector changes this to "or I should thank my honesty rather than my wit.”

P. 57. (118)

"and the foolish chroniclers of that age found it was— -Hero of Sestos.” Here Hanmer reads "coroners" instead of " chroniclers" (and so Mr. Collier's Ms. Corrector).—"The word 'found' makes for 'coroners;' but the plural number, and the phrase of that age,' tell the other way." W. N. LETTSOM.

P. 58. (119)

Warburton reads " weep."

P. 59. (120)

"sleep."

"make her fault her husband's occasion,"

"Sir Thomas Hanmer," says Mr. Collier, "made a tolerable guess, when he altered 'occasion' to 'accusation.' . It is accusing' in the corrected

folio, 1632; no doubt, Shakespeare's word.”—Mr. Staunton proposes her husband's confusion."-According to Johnson, the old text means “represent her fault as occasioned by her husband."

P. 60. (121)

"Qu. 'I tell thee'?

"I'll tell thee,"

This blunder, if it be one, is not uncommon." W. N.

The folio has "Phebe did bid me.”—Corrected in the second folio.

P. 61. (125)

"Were man as rare as phonix."

Walker (Shakespeare's Versification, &c. p. 266) quotes this passage with the reading 'men' (which he seems to have taken for the established text), and would write "phoenix'" (i. e. phoenixes).

Mason, in consequence of the next speech, conjectures "Phebe did write it

P. 62. (128)

"He that brings this love to thee
Little knows this love in me:"

Walker (Crit. Exam. &c. vol. i. p. 295) cites this couplet, marking the first "love" as suspicious, and observes, "Love' occurs three other times in the course of these fourteen lines."

P. 63. (129)

"Of female favour, and bestows himself
Like a ripe sister: but the woman low,"

Here the "but" was inserted by the editor of the second folio, who troubled himself only about the metre of the line.-Walker (Shakespeare's Versification, &c. p. 209) observes, as he well might, that "a ripe sister' seems an odd expression;" and Mr. W. N. Lettsom (note, ibid.) most ingeniously proposes,

P. 63. (130)

66

"Of female favour, but bestows himself

Like a right forester : the woman low.”

The folio has "owner."

P. 63. (131)

"owners"

Chewing the cud of sweet and bitter fancy,"

The folio has "Chewing the food of," &c.-In the Introduction to Quentin Durward, the imaginary Marquis de Hautlieu is made to quote the present line thus,

Shewing the code of sweet and bitter fancy:"

which is followed by the remark; "Against this various reading of a wellknown passage in Shakespeare I took care to offer no protest; for I suspect Shakespeare would have suffered in the opinion of so delicate a judge as the Marquis, had I proved his having written chewing the cud,' according to all other authorities." p. xxxvi., ed. 1823. Sir Walter Scott, therefore, was not aware that "all authorities" agreed in "chewing the food of," &c.; and to him, in fact, we owe the correction of the line.—Mr. Staunton prints "Chewing the cud of," &c., and observes; "the old text has 'food,' undoubtedly a misprint. To chew the cud,' metaphorically, to ruminate, to revolve in the mind, is an expression of frequent occurrence in our old authors."

P. 64. (133) "As, how I came into that desert place;—”

After this line Capell supposes two lines, Malone, one line, to have been lost. -"As,' in this place, signifies 'as for instance.' I suspect no omission." STEEVENS. See note 37.