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Your daughter and her cousin much commend
Before OLIVER'S House.
Enter ORLANDO and ADAM, meeting.
SO FOND to overcome] i. e. so foolish. See vol. ii. p. 37, note 5. s The Bony priser] In all the folios, “ bony” is spelt bonny.
to some kind of men] Oldest copy, seeme kind.” Corrected in the second folio.
0, what a world is this, when what is comely
Orl. Why, what's the matters?
O, unhappy youth !
go? Adam. No matter whither, so you come not here. Orl. What! would'st thou have me go and beg my
Adam. But do not so. I have five hundred crowns,
5 Why, what's the matter ?] These words are made part of Adam's speech in the folio of 1623 ; but are properly assigned to Orlando in the folio of 1632. An error of a similar kind occurs in Orlando's next speech.
Be comfort to my age! Here is the gold:
Let me be your servant :
Orl. O, good old man! how well in thee appears
Adam. Master, go on, and I will follow thee
6 From SEVENTEEN years,] The old copies read, seventy. The correction was made by Rowe, and is warranted by what follows in the next line but one.
The Forest of Arden.
Enter Rosalind for Ganymede, CELIA for Aliena, and
Clown, alias TOUCHSTONE'.
Touch. I care not for my spirits, if my legs were not weary.
Ros. I could find in my heart to disgrace my man's apparel, and to cry like a woman; but I must comfort the weaker vessel, as doublet and hose ought to show itself courageous to petticoat : therefore, courage, good Aliena.
Cel. I pray you, bear with me: I can go no farther'.
Touch. For my part, I had rather bear with you, than bear you: yet I should bear no cross, if I did bear you, for, I think, you have no money in your purse.
Ros. Well, this is the forest of Arden.
Touch. Ay, now am I in Arden; the more fool I: when I was at home I was in a better place, but travellers must be content.
Ros. Ay, be so, good Touchstone.—Look you ; who comes here? a young man, and an old, in solemn talk.
Enter CORIN and SILVIUS.
– and Clown, alias Touchstone.] The whole of this is precisely the old stage-direction ; and as it is perfectly intelligible, it is to be preferred.
8 0 Jupiter ! how WEARY are my spirits !] In the old copies it stands,“ how merry are my spirits !” an easy misprint : and that it was so, seems shown by the answer of Touchstone, “ I care not for my spirits, if my legs were not weary.” It has been suggested, that Rosalind was assuming good spirits, as well as male attire, and would therefore say, “how merry are my spirits ;” but why should she assume good spirits here to Celia, when in the very next sentence she utters she says, that her spirits are so bad that she could almost cry?
' – I can go no farther.] The copy of 1623 reads, “ I cannot go no farther;" but the second folio corrects the error. VOL. III.
Sil. O Corin, that thou knew'st how I do love her!
Sil. No, Corin; being old, thou canst not guess,
Cor. Into a thousand that I have forgotten.
Sil. O! thou didst then ne'er love so heartily.
[Exit Silvius. Ros. Alas, poor shepherd ! searching of thy wound”, I have by hard adventure found mine own.
Touch. And I mine. I remember, when I was in love I broke my sword upon a stone, and bid him take that for coming a-night to Jane Smile: and I remember the kissing of her batler', and the cow's dugs that her pretty chapped hands had milked : and I remember the wooing of a peascod instead of her; from whom I
10 WEARYING thy hearer] The first folio reads wearing, and the second folio, wearying.
10 Phebe, Phebe, Phebe !] In the old folios this is made a separate line, and properly ; for it is very clear that Shakespeare meant to adopt a species of blank-verse lyrical measure in this speech, each staff ending with “Thou hast not loy’d."
: - searching of the wound,] The folio of 1623 reads, they would ; and the second folio only half corrects the error by substituting their wound. Our text is, no doubt, the true reading.
kissing of her bATLER,] The folio of 1632 reads, batlet : a bat used for washing linen.