fir. I did dislike the cut of a certain courtier's beard; he sent me word, if I said his beard was not cut well, he was in the mind it was: This is called the Retort courteous. If I fent him word again, it was not well cut, he would send me word, he cut it to please himself: This is called the Quip modest. If again, it was not well cut, he disabled my judgement: This is call'd the Reply churlish. If again, it was not well cut, he would answer, I spake not true: This is call'd the Reproof valiant. If again, it was not well cut, he would say, I lie: This is called the Countercheck quarrelsome: and fo to the Lie circumftantial, and the Lie direct.

JAR. And how oft did you fay, his beard was not well cut?

TOUCH. I durst go no further than the Lie circumftantial, nor he durft not give me the Lie direct; and so we measured swords, and parted.

JAR. Can you nominate in order now the degrees of the lie?

3

Touch. Ofir, we quarrel in print, by the book;

4

-as thus, fir. 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:

Has he familiarly

" Dislik'd your yellow starch, or faid your doublet

"Was not exactly frenchified?

or drawn your sword,

Cry'd, 'twas ill mounted? Has he given the lie

" In circle, or oblique, or femicircle,

" Or direct parallel? you must challenge him."

WARBURTON.

4 O fir, we quarrel in print, by the book;] The poet has, in this scene, rallied the mode of formal duelling, then so prevalent, with the highest humour and address: nor could he have treated it with a happier contempt, than by making his Clown so knowing in the forms and preliminaries of it. The particular book here alluded to is a very ridiculous treatise of one Vincentio Saviolo,

as you have books for good manners: I will name you the degrees. The first, the Retort courteous; the second, the Quip modeft; the third the Reply

intitled, Of Honour and honourable Quarrels, in quarto, printed by Wolf, 1594. The first part of this tract he entitles, A difcourse most necessary for all gentlemen that have in regard their honours, touching the giving and receiving the lie, whereupon the Duello and the Combat in divers forms doth ensue; and many other inconveniences for lack only of true knowledge of honour, and the right understanding of words, which here is fet down. The contents of the several chapters are as follow. I. What the reason is that the party unto whom the lie is given ought to become challenger, and of the nature of lies. II. Of the manner and diversity of lies. III. Of lies certain, [or direct.] IV. Of conditional lies, [or the lie circumstantial.] V. Of the lie in general. VI. Of the lie in particular. VII. Of foolish lies. VIII. A conclufion touching the wresting or returning back of the lie, [or the countercheck quarrelsome.) In the chapter of conditional lies, speaking of the particle if, he says, "-Conditional lies be fuch as are given conditionally, as if a man should say or write these wordes :- if thou hast faid that I have offered my lord abuse, thou lieft; or if thou fayest so hereafter, thou shalt lie. Of these kind of lies, given in this manner, often arise much contention in wordes, whereof no fure conclufion can arife." By which he means, they cannot proceed to cut one another's throat, while there is an if between. Which is the reason of Shakspeare making the Clown say, "I knew 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 faid so, then I faid so, and they shook hands, and fwore brothers. Your if is the only peace-maker; much virtue in if." Caranza was another of these authentick authors upon the Duello. Fletcher, in his last Act of Love's Pilgrimage, ridicules him with much humour. WARBURTON.

The words which I have included within crotchets are Dr. Warburton's. They have been hitherto printed in such a manner as might lead the reader to suppose that they made a part of Saviolo's work. The passage was very inaccurately printed by Dr. Warburton in other respects, but has here been corrected by the original. MALONE.

5

books for good manners:]

One of these books I have. It is entitled The Boke of Nurture, or Schole of good Manners, for Men, Servants, and Children, with stans puer ad menfam; 12mo. black letter, without date. It was written by Hugh Rhodes, a gentleman, or musician, of the Chapel Royal; and was first published in 4to. in the reign of King Edward VI. STEEVENS.

churlish; the fourth, the Reproof valiant; the fifth, the Countercheck quarrelsome; the fixth, the Lie with circumftance; the seventh, the Lie direct. All these you may avoid, but the Lie direct; and you may avoid that too, with an If. I knew when seven justices could not take up a quarrel; but when the parties were met themselves, one of them thought but of an If, as, If you faid fo, then I faid fo; and they fhook hands, and swore brothers. Your If is the only peace-maker; much virtue in If.

JAR. Is not this a rare fellow, my lord? he's as good at any thing, and yet a fool.

DUKE S. He uses his folly like a stalking-horse," and under the presentation of that, he shoots his wit.

Enter HYMEN, leading ROSALIND in woman's clothes; and CELIA.

Still Musick.

HYM. Then is there mirth in heaven,

When earthly things made even
Atone together.
Good duke, receive thy daughter,
Hymen from heaven brought her,
Yea, brought her hither;
That thou might'ft join her hand with his,
Whose heart within her bosom is.

8

Another is, Galateo of Maister John Cafa, Archbishop of Benevento; or rather, a Treatise of the Manners and Behaviours it behoveth a Man to use and eschewe in his familiar Conversation. A Work very neceffary and profitable for all Gentlemen or other; tranflated from the Italian by Robert Peterson of Lincoln's Inn, 4to. 1576. REED.

6

- like a ftalking-horse,] See my note on Much ado about Nothing, Act II. fc. iii. STEEVENS.

Enter Hymen,) Rosalind is imagined by the rest of the com

Ros. To you I give myself, for I am yours. [TO DUKE S. To you I give myself, for I am yours. [TO ORLANDO.

pany to be brought by enchantment, and is therefore introduced by a fuppofed aerial being in the character of Hymen. JOHNSON.

In all the allegorical shows exhibited at ancient weddings, Hymen was a constant perfonage. Ben Jonson, in his “Hymenei, or the Solemnities of Masque and Barriers, at a Marriage," has left us instructions how to dress this favourite character. "On the other hand entered Hymen, the god of marriage, in a faffroncoloured robe, his under vestures white, his fockes yellow, a yellow veile of filke on his left arme, his head crowned with rofes and marjoram, in his right hand a torch." STEEVENS.

8 That thou might'ft join her hand with his,

Whose heart within her bosom is.) The old copy, instead of her, reads his in both lines. Mr. Rowe corrected the first, and I once thought that emendation fufficient, and that Whose might have referred not to the laft antecedent his, but to her, i. e. Rofalind. Our author frequently takes such licences. But on further confideration it appears to me probable, that the fame abbreviation was used in both lines, and that as his was certainly a misprint in the first line for her, so it also was in the second, the construction being fo much more easy in that way than the other. "That thou might'ft join her hand with the hand of him whose heart is lodged in her bosom" i. e. whose affection she already possesses. So, in Love's Labour's Loft, the King says to the Princess:

"Hence ever then my heart is in thy breast."

Again, in our author's Venus and Adonis :

"Bids him farewell, and look well to her heart,
"The which, by Cupid's bow the doth proteft,
"He carried thence incaged in his breaft."

Again, in King Richard III:

"Even fo thy breast incloseth my poor heart."

Again, in Romeus and Juliet, 1562:

Thy heart thou leav'it with her, when thou doft hence

depart,

"And in thy breast inclosed bear'ft her tender friendly heart."

In the fame play we meet with the error that has happened here. The Princess addressing the ladies who attend her, says: "But while 'tis spoke, each turn away his face."

Again, in a former scene of the play before us:

"Helen's cheek, but not his heart." MALONE.

DUKE S. If there be truth in fight, you are my

daughter.

ORL. If there be truth in fight, you are my Ro

falind.

PHE. If fight and shape be true,

Why then,-my love adieu!

Ros. I'll have no father, if you be not he :

[TO DUKE S.

I'll have no husband, if you be not he :

[To Orlando.

Nor ne'er wed woman, if you be not the. [TO PHЕВЕ.
Hrm. Peace, ho! I bar confufion:
'Tis I must make conclufion

Of these most strange events:
Here's eight that must take hands,
To join in Hymen's bands,

If truth holds true contents.*

You and you no cross shall part;

[To ORLANDO and Rosalind.

You and you are heart in heart:

[To OLIVER and Celia.

You [To PHEBE] to his love must accord,

Or have a woman to your lord :

You and you are sure together,

[TO TOUCHSTOne and Audrey.

As the winter to foul weather.

Whiles a wedlock-hymn we fing,

Feed yourselves with questioning;3

9 If there be truth in fight,] 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 ufurp the form of another. JOHNSON.

2 If truth holds true contents.) That is, if there be truth in truth,

unless truth fails of veracity. with questioning;)

3

JOHNSON.
Though Shakspeare frequently uses