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in the ditty, yet the note was very untunable.] Though it is thus in all the printed copies, it is evident from the fequel of the dialogue, that the poet wrote as I have reformed the text, untimable. Time, and Tune, are frequently misprinted for one another in the old editions of Shakespeare. THEOB.
Ibid. 1 This emendation is received, I think, very undeservedly, by Dr. Wárburton.
Johas. · P. 509. 1. 9. As those that fear they hope, and know they fear.] This frange nonsense thould be read thus,
As thoie that fear their bap, and know their fear. i. e. As those who fear the illue of a thing when they know their fear to be well grounded.
WARB. Ibid.] The depravation of this line is evident, but I do not think the learned commentator's emendation very happy. I read thus,
As thor: that fear svith hope, and hope with fear. Or thus, with less alteration,
As those that fear, they hope, and now they fear. JOHNS. . Ibid.] As those that fear ibeir bope, and know their fear.
CAPELL.* P. 510. 1. 20. Here come a pair of very strange beafis, &c.] What! strange beasts? and yet such as have a name in all languages ? Noah's ark is here alluded to; into which the clean beasts entered by sevens, and the unclean by two, male and female. It is plain then that Shakespeare wrote, here come a pair of unclean beasts, which is highly hạmorous.
HANM, & WARB. Ibid. 1 Strange beasts are only what we call odd animals.. There is no need of any alte ation.
JOHNS. P. 51,1. 2. We found the quarrel was upon the seventb cause.] So all the copies : but it is apparent from the sequel that we must read, the quarrel was not upon the seventh caufe. JOHNS.
L.7. _ i defore you of the like.] We fhould read, I de: fire of you the like. On the duke's saying, I like him very cuell, he replies, I defire you will give me cause that I may like you too.
WARB. . L. 9. According as marriage binds and blood breaks.] The construction is, to fovear as marriage binds. Which I think is not English. I suspect Shakespear wrote it thus, “ to fwear aud to forfwear, according as marriage bids, and blood
VOL. I. PART II.
Ibid.) I cannot discover what has here puzzled the Commentator : to swear according as marriage binds, is to take the oath enjoin'd in the ceremonial of marriage. JOHNS..
L. 15. Dulcet. diseases.] This I do not understand. For diseases it is easy to read discourses : but, perhaps the fault may lie deeper.
Johns. Ibid.) Meaning Love, as what is apt to make fólks sententious.
HANMER.* L. 20. As thus, Sir, I did dislike the cut of a courtier's beard.] This folly is touched upon with high humour by Fletcher in his Queen of Corinthi
WARB. P. 512. 1. 8. O Sir, que quarrel in print, by the book.] The Poet has, in this scene, rallied the mode of formal duelling, then so prevalent. The particular book here alluded to is a very ridiculous treatise of one Vincentio Saviolo, intitled, « Of honour and honourable quarrels,” in quarto, printed by Wolf, 1594. The first part of this tract he intitles « Á discourse most necessary for all gentlemen that have in regard their honors, touching the giving and receiving the lye, whereupon the Duello and the Combat in divers forms doth ensue; and many other inconveniences, for lack only of true knowledge of honor, and the right understanding of words, which here is set down." The contents of the second chapter are as follow. 1. What the reason is that the party unto whom the lye is given ought to become challenger, and of the nature of lies. II. Of the manner and diversity of lies. III. Of the lye certain, or dire&t. IV. Of conditional lies, or the lye circumstantial. V. Of the lye in general. VI. of the lye in particular. VII. Of foolish Iyes. VIII. A. conclufion touching the wresting or returning back of the lye, or the countercheck quarrelsome. In the chapter of conditional lies speaking of the particle if, he says—Conditional lies be such as are given conditionally tbus--if thou hast said fo or so, then thou lieft. Of these kind of lies, given in this manner, often arise much contention, whereof no fure conclufion can arise. By which he means, they cannot proceed to cut one another's throats, while there is an if between them. Which is the reason of Shakespeare's making the Clown fay, I know when seven justices could not make up a quarrel : but when the parties
were met themselves, one of them thought but of an if, as if you said so, then I said so, and they look hands, and swore bruthers. Your if is the only peace-maker ; much virtue tn if. Caranza was another of these authentic authors upon the Duello. Fletcher in his last Act of Love's Pilgrimage, ridicules him with much humour. THEOB. & WARB.
L. 25. Enter Hymen.] Rosalind is imagined by the rest of the company to be brought by enchantment, and is there. . fore introduced as an aerial being in the character of Hy
JOHNS. P. 513. 1. 8. If there be truth in fight.] The answer of Phebe makes it probable that Orlando says, if there be truth in fhape : that is, if a form may be trusted ; if one cannot usurp the form of another.
JOHNS. L. 19. If truth holds true contents.] That is, if there be truth in truth, unless truth fails of veracity. JOHNS.
P. 516. 1. 6. What a case am I in then, &c.] Here seems to be a chasm, or some other depravation, which destroys the sentiment here intended. The reasoning proba. bly stood thus, “ good wine needs no bush, good plays need no epilogue,” but bad wine requires a good bush, and a bad play a good epilogue. What cafe am I in then To restore the words is impossible; all that can be done without copies is, to note the fault.
· JOHNS. L. 8. -- furnish'd like a beggar;] That is, drefled: fo before, he was furnised like a huntsman.
JOHNS. L. 11. - Icharge you, O women, for the love you bear to men, to like as much of this play as pleases you : and I charge you, O men, for the love you bear to women, -thas between you and the women, &c.] This passage should be read thus, « I charge you, O women, for the love you bear to men, to like as much of this play as pleases them: and I charge you, O men, for the love you bear to women, — to like as much as pleases them, that between you and the women, &c” Without the alteration of you into them the invocation is nonsense; and without the addition of the words, to like as much as pleases them, the inference of, that between you and the women the play may pass, would be unsupported by any precedent premises. The words seem to have been struck out by some senseless player, as a vicious redundancy.
Ibid] Dr Warburton by his own interpolation makes that an inference, which originally was only a charge, and then alledges the necessity of supporting the inference of his own making, in order to justify, the interpolation which created that inferebce. But, as he hath managed his cards, the poet is just between two stuols. The men are to like only just as much as pleased the women; and the women only just as much as pleased the men; neither are to like any thing from their own taste; and if both of them di liked the whole, they would each of them equally fulfil what the poet deres of them. So thai uron a thorough examination of the matter, Mr. Warburton's inference is not supported by his premises, notwithstanding the liberty be hath taken with the text in order to adjust them together; But Shakefpeare did not write fo non enfic lly; he defires the women to like as much as pleased the men, and the men to set the ladies a good example, which exhortation to the men is evidently enough implied in these words, that between you and the women, the play may please.' REVIS. *
Ibid.] The words you and ym written as was the custom in that time, were in manuscript scarcely distinguishable. Dr. W's emendation is very judicious and probable, Johns.
L. 16. - If I were a woman) Note that in this author's time the parts of women were always performed by men or boys.
HANM. of this play the fable is wild and pleasing. I know not how the ladies will approve the facility with which both Rosalind and Celia give away their hearts. To Celia much may be forgiven for the heroism of her friendship. The character of Jaques is natural and well preserved. The comick dialogue is very sprightly, with less mixture of low buffoonery than in some other plays; and the graver part is elegant and harmonious. By haftening to the end of his work Shakespear fupprefled the dialogue between the usurper and the hermit, and loft an opportunity of exhibiting a moral lesson in whi.h he might have found matter worthy of his highest powers.
END of the Notes on As You LIKE IT.
BETWEEN THE TEXTS OF Dr. JOHNSON AND MR. CAPELL. The TWO GENTLEMEN OF VERONA. Dr. JOHNSON.
Mr. CAPELL. P. 161 1.8 with . 165 25 her
your 29 testern'd
tester'd 31 Letter
Letters 166 26 on all
of all 172 21 sweet life Sweet life ! sweet Julia! .. 182 10 the flood
the tide II and the tide 186 15 welcome ? welcome fir ?
16 No 188 15 Then
why then 21 hay more
nay more my Protheus 189 13 mine Eye
mine own 21 ale-house ale 203 2 I say
Sirrah, I say 206 30 set down set this down 207 3 for 16 Hairs
Hair 18 stop here; stop there; 208 27 heavily
grievously 211 22 what
that 24 Sir
fit 212 I fir
O fir 213 15 whom
who 27 the
this 214 8 shall
all 218 15 her
her's i abhorr'd
abhors 15 reward
rewards 27 coming