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Much marked of the melancholy Jaques,
Stood on the extremest verge of the swift brook,
Augmenting it with tears.
Duke S.

But what said Jaques?
Did he not moralize this spectacle?

1 Lord. O, yes, into a thousand similes.
First, for his weeping in the needless stream ;*
Poor decr, quoth he, thou mak'st a testament

As worldlings do, giving thy sum of more
hath To that which"had"too much:1 Then, being alone,

Left and abandon'd of his velvet friends;
'Tis right, quoth he; thus misery doth part
The flux of company: Anon, a careless herd,
Full of the pasture, jumps along by him,
And never stays to greet him; Ay, quoth Jaques,
Sweep on, you fat and greasy citizens ;
'Tis just the fashion: Wherefore do you look
Upon that poor and broken bankrupt there?
Thus most invectively he pierceth through
The body of the country, 3 city, court,



the big round tears &c.] It is said in one of the marginal notes to a similar passage in the 13th Song of Drayton's Polyolbion, that “the harte weepeth at his dying: his tears are held to be precious in medicine.” Steevens.

in the needless stream ;] The stream that wanted not such a supply of moisture. The old copy has into, caught probably by the compositor's eye from the line above. The correc. tion was made by Mr. Pope. Malone.

1 To that which had too much:] Old copy—too must. Corrected by the editor of the second folio. Malone.

Shakspeare has almost the same thought in his Lover's Coinplaint:

in a river
“ Upon whose weeping margin she was set,

“Like usury, applying wet to wet.”
Again, in King Henry VI, P. III, Act V, sc. iv:

“ With tearful eyes add water to the sea,
“ And give more strength to that which hath too much.

Then, being alone,] The old copy redundantly reads
Then being there alone. Steevens.

3 The body of the country,] The oldest copy omits-the; but it is supplied by the second folio, which has many advantages over the first. Mr. Malone is of a different opinion; but let him speak for himself. Steevens.


Yea, and of this our life: swearing, that we
Are mere usurpers, tyrants, and what's worse,
To fright the animals, and to kill them up,
In their assign'd and native dwelling place.

Duke S. And did you leave him in this contemplation?

2 Lord. We did, my lord, weeping and commenting Upon the sobbing deer. Duke S.

Show me the place;
I love to cope him in these sullen fits,
For then he's full of matter.

2 Lord. I'll bring you to him straight. [Excunr.


A Room in the Palace.

Enter Duke FREDERICK, Lords, and Attendants.
Duke F. Can it be possible, that no man saw them?
It cannot be: some villains of my court
Are of consent and sufferance in this.

1 Lord. I cannot hear of any that did see her.
The ladies, her attendants of her chamber,
Saw her a-bed; and, in the morning early,
They found the bed untreasur'd of their mistress.

2 Lord. My-lord, the roynish clown,5 at whom so oft

Country is here used as a trisyllable. So again, in "Twelfth Night:

“ The like of him. Know'st thou this country?” The editor of the second folio, who appears to have been utterly ignorant of our author's phraseology and metre, reads- The body of the country, &c. which has been followed by all the subse. quent editors. Malone.

Is not country used elsewhere also as a dissyllable? See Coriolanus, Act I, sc. vi:

“ And that his country's dearer than himself.” Besides, by reading country as a trisyllable, in the middle of a "verse, it would become rough and dissonant. Steevens. to cope him - ] 'To encounter him; to engage with him.

Fohnson. the roynish clown,] Roynish, from rogneux, Fr. mangy, scurvy. The word is used by Chaucer, in The Romaunt of the Rose, 988:

“ That knottie was and all roinous." Again, ibid. 6190:

“ This argument is all roignous —.”


Your grace was wont to laugh, is also missing.
Hesperia, the princess' gentlewoman,
Confesses, that she secretly o'er-heard
Your daughter and her cousin much commend
The parts

and graces of the wrestler6
That did but lately foil the sinewy Charles;
And she believes, wherever they are gone,
That youth is surely in their company.

Duke F. Send to his brother;7 fetch that gallant hither;
If he be absent, bring his brother to me,
I'll make him find him: do this suddenly;.
And let not search and inquisition quail
To bring again these foolish runaways. [Exeunt.


Before Oliver's House. Enter ORLANDO and Adam, meeting. Orl. Who's there? Adam. What! my young master?-0, my gentle

master, O, my sweet master, O you memory


Again, by Dr. Gabriel Harvey, in his Pierce's Supererogation, 4to. 1593. Speaking of Long Meg of Westminster, he says—“ Although she were a lusty bouncing rampe, somewhat like Gallemetta or maid Marian, yet was she not such a roinish rannel, such a dissolute gillian-flirt,” &c.

We are not to suppose the word is literally employed by Shak. speare, but in the same sense that the French still use carogne, a term of which Moliere is not very sparing in some of his pieces.

Steevens. of the wrestler -] Wrestler, (as Mr. Tyrwhitt has ob. served in a note on The Two Gentlemen of Verona) is here to be sounded as a trisyllable. Steevens.

? Send to his brother;] I believe we should read-brother's. For when the Duke says in the following words : “ Fetch that gallant hither;" he certainly means Orlando. M. Mason.

8 — quail —] To quail is to faint, to sink into dejection. So, in Cymbeline :

which my false spirits Quail to remember.” Steevens.

O you memory -] Shakspeare often uses memory for memorial; and Beaumont and Fletcher sometimes. So, in The Humorous Lieutenant:


Of old sir Rowland! why, what make you here?
Why are you virtuous? Why do people love you?
And wherefore are you gentle, strong, and valiant?
Why would you be so fond1 to overcome
The bony priser2 of the humorous duke?
Your praise is come too swiftly home before you.
Know you not, master, to some kind of men 3
Their graces serve them but às enemies?
No more do yours; your virtues, gentle master,
Are sanctified and holy traitors to you.
O, what a world is this, when what is comely
Envenoms him that bears it?
Orl. Why, what's the matter?

unhappy youth, Come not within these doors; "within"this roof Geneath

“I knew then how to seek your memories." Again, in The Atheist’s Tragedy, by C. Turner, 1611:

“ And with his body place that memory

« Of noble Charlemont.” Again, in Byron's Tragedy:

“ That statue will I prize past all the jewels
“ Within the cabinet of Beatrice,

“The memory of my grandame.” Steevens. 1-so fond - ] i. e. so indiscreet, so inconsiderate. So, in The Merchant of Venice :

- I do wonder,
“ Thou naughty gaoler, that thou art so fond

To come abroad with him -.” Steevens. 2 The bony priser -] In the former editions-The bonny priser. We should read-bony priser. For this wrestler is characterised for his strength and bulk, not for his gaiety or good humour.

Warburton. So, Milton:

“ Giants of mighty bone." Johnson.
So, in the Romance of Syr Degore, bl. 1. no date:

“ This is a man all for the nones,
“ For he is a man of great

bones.' Bonny, however, may be the true reading. So, in King Henry VI, P. II, Act V:

“ Even of the bonny beast he lov’d so well.” Steevens. The word bonny occurs more than once in the novel from which this play of As you Like it is taken. It is likewise much used by the common people in the northern counties. I believe, however, bony to be the true reading. Malone.

3- to some kind of men -] Old copy-seeme kind. Correct. ed by the editor of the second folio. Malone.

The enemy of all your graces lives:
Your brother-(no, no brother; yet the son
Yet not the son; I will not call him son
Of him I was about to call his father)-
Hath heard your praises; and this night he means
To burn the lodging where you use to lie,
And you within it; if he fail of that,
He will have other means to cut you off:
I overheard him, and his practices.
This is no place, this house is but a butchery;
Abhor it, fear it, do not enter it.

Orl. Why, whither, Adam, wouldst thou have me go?
Adam. No matter whither, so you come not here.

Orl. What, wouldst thou have me go and beg my food? Or, with a base and boisterous sword, enforce A thievish living on the common road? This I must do, or know not what to do: Yet this I will not do, do how I can; I rather will subject me to the malice Of

a diverted blood, s" and bloody brother. proud

4 This is no place,] Place here signifies a seat, a mansion, a residence. So, in the first Book of Samuel: “ Saul set him up a place, and is gone down to Gilgal.” Again, in Chaucer's Prologue to the Canterbury Tales:

“ His wanning was ful fayre upon an heth,

“With grene trees yshadewed was his place." We still use the word in compound with another, as-St. James's place, Rathbone place; and Crosby place, in K. Richard III, &c. Steevens.

Our author uses this word again in the same sense in his Lover's Complaint :

“Love lack'd a dwelling, and made him her place." Plas, in the Welch language, signifies a mansion-house. Malone.

Steevens's explanation of this passage is too refined. Adam means merely to say—“This is no place for you.” M. Mason.

- diverted blood,] Blood turned out of the course of nature. Johnson. So, in our author's Lover's Complaint:

“Sometimes diverted, their poor balls are tied

“ To the orbed earth -." Malone. To divert a water-course, that is, to change its course, was a common legal phrase, and an object of litigation in Westminster Hall, in our author's time, as it is at present.

Again, in Ray's Travels: “We rode along the sea coast to Ostend, diverting at Nieuport, to refresh ourselves, and get a sight of the town; i. e. leaving our course. Reed.

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