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ACT IV. SCENE III.
The foregoing noisy scene was introduced only to fill up an interval, which is to represent two hours. This contraction of the time we might impute to poor Rosalind's impatience, but that a few minutes after we find Orlando sending his excuse. I do not see that by any probable division of the acts this absurdity can be obviated. JOHNSON.
Line 286. -vengeance-] Is used for mischief. JOHNSON. ·297. -youth and kind-] Kind is the old word for nature. JOHNSON. Line 308. I see, love hath made thee a tame snake,] A tame snake was, in Shakspeare's time, used as a term of derision. Line 341. Within an hour;] We must read, within two hours. JOHNSON.
364. And he did render him-] i. e. He represented him
to be. Line 374. -in which hurtling-] To hurtle, is to skirmish, or bustle.
Line 407. cousin-Ganymede!] Celia in her first fright forgets Rosalind's character and disguise, and calls out cousin, then recollects herself, and says Ganymede. JOHNSON.
ACT V. SCENE I.
The heathen philosopher, when he had a desire to eat a grape, &c.] This was designed as a sneer on the several trifling and insignificant sayings and actions, recorded of the ancient philosophers, by the writers of their lives, such as Diogenes Laertius, Philostratus, Eunapius, &c. as appears from its being introduced by one of their wise sayings. WARBURTON.
ACT V. SCENE II.
Line 85. And you, fair sister.] I know not why Oliver should call Rosalind sister. He takes her yet to be a man. I suppose we should read, and you, and your fair sister. JOHNSON.
Oliver speaks to her in the character she had assumed, of a woman courted by Orlando his brother.
Line 107. -clubs cannot part them.] Thus in Titus Andronicus:
"Clubs, clubs; these lovers will not keep the peace." It was customary on the appearance of a fray, to call out "Clubs,
-human as she is,] That is, not a phantom, but
the real Rosalind, without any of the danger generally conceived to attend the rites of incantation.
Line 138. which I tender dearly, though I say I am a magician:] Hence it appears this was written in James's time, when there was a severe inquisition after witches and magicians. WARB.
ACT V. SCENE III.
The stanzas of the song are in all the editions evidently transposed: as I have regulated them, that which in the former copies was the second stanza is now the last.
· The same transposition of these stanzas is made by Dr. Thirlby, in a copy containing some notes on the margin, which I have perused by the favour of Sir Edward Walpole.
ACT V. SCENE IV.
Line 276. Here comes a pair of very strange beasts, &c.] Strange beasts are only what we call odd animals. JOHNSON.
Line 298. according as marriage binds, and blood breaks:] To swear according as marriage binds, is to take the oath enjoined in the ceremonial of marriage. JOHNSON.
Line 308. dulcet diseases.] This I do not understand. For diseases it is easy to read discourses: but perhaps the fault may
-as thus, Sir; I did dislike the cut of a certain courtier's beard;] This folly is touched upon with high humour by Fletcher in his Queen of Corinth:
"Dislik'd your yellow starch, or said your doublet
"Cry'd 'twas ill mounted? Has he given the lye
"In circle or oblique or semicircle
"Or direct parallel; you must challenge him."
-like a stalking horse,] See note on Much Ado
about Nothing, Act 2. Sc. 3.
Line 351. Enter Hymen,] Rosalind is imagined by the rest of the company to be brought by enchantment, and is therefore introduced by a supposed aërial being in the character of Hymen.
Line 361. If there be truth in sight,] The answer of Phebe makes it probable that Orlando says, if there be truth in shape: `that is, if a form may be trusted; if one cannot usurp the form of another. JOHNSON.
Line 375. If truth holds true contents.] That is, if there be truth in truth, unless truth fails of veracity.
END OF THE ANNOTATIONS ON AS YOU LIKE IT.
ALL'S WELL THAT ENDS WELL.
ACT I. SCENE I.
LINE 5.-in ward.] Under his particular care, as my guardian, till I come to age. It is now almost forgotten in England that the. heirs of great fortunes were the king's wards. Whether the same practice prevailed in France, it is of no great use to enquire, for Shakspeare gives to all nations the manners of England. JOHNS.
Line 20.0, that had! how sad a passage 'tis !] Passage is any thing that passes; so we now say, a passage of an author, and we said about a century ago, the passages of a reign. When the countess mentions Helena's loss of a father, she recollects her own loss of a husband, and stops to observe how heavily that word passes through her mind. JOHNSON.
Thus Shakspeare himself. See The Comedy of Errors, Act 3 Sc. 1.-"Now in the stirring passage of the day." STEEVENS. Line 45. they are virtues and traitors too; in her they are the better for their simpleness;] Her virtues are the better for their simpleness, that is, her excellencies are the better because they are artless and open, without fraud, without design. The learned Dr.