and the most vnworthy of her you call Rofalinde, that may bee chofen out of the groffe band of the vnfaiththerefore beware my cenfure, and keep your pro full mife. Orl. With no leffe religion, then if thou wert indeed my Rofalind : so adieu, 185 Rof. Well, Time is the olde Iuftice that examines all fuch offenders, and let time try: adieu. Exit. 190 Cel. You haue fimply misus'd our sexe in your loueprate we must haue your doublet and hofe pluckt ouer your head, and fhew the world what the bird hath done to her owne neast. Rof. O coz, coz, coz: my pretty little coz, that thou didst know how many fathome deepe I am in loue: but it cannot bee founded: my affection hath an vnknowne bottome, like the Bay of Portugall. 195 191. Scene III. Pope, Han. Warb. 199 191. try] try you Coll. (MS). measuring all his passions with a coy disdaine, and triumphing in the poore shepheard's patheticall humours.' &c. WRIGHT: Cotgrave explains 'Pathetique' as Patheticall, passionate; persuasiue, affection-moving. ALLEN (MS): Rosalind merely misplaces the epithet (by a kind of hypallage); ‘pathetical' properly belongs to 'lover,' as if she had said: 'I will think you the most passionate-not lover as now -but break-promise.' 183. breake-promise] 'At lovers' perjuries They say Jove laughs.'—Rom. & Jul. II, ii, 93. 190. olde Iustice] STEEVENS: So in Tro. & Cress. IV, v, 225: 'that old common arbitrator, Time, Will one day end it.' 192. misus'd] MOBERLY: Completely libelled our sex. WRIGHT: That is, abused. On the other hand, abuse in Shakespeare's time was equivalent to the modern 'misuse.' 195. neast] STEEVENS: So in Lodge's Rosalynde: 'I pray (quoth Aliena) if your robes were off, what mettal are you made of that you are so satyrical against women? is it not a foule bird that defiles his own nest?' 199. Portugall] WRIGHT: In a letter to the Lord Treasurer and Lord High Admiral, Ralegh gives an account of the capture of a ship of Bayonne by his man Captain-Floyer in 'the bay of Portugal' (Edwards, Life of Ralegh, ii, 56). This is the only instance in which I have met with the phrase, which is not recognised, so far as I am aware, in maps and treatises on geography. It is, however, I am informed, still used by sailors to denote that portion of the sea off the coast of Portugal from Oporto to the headland of Cintra. The water there is excessively deep, and within a distance of forty miles from the shore it attains a depth of upwards of 1400 fathoms, which in Shakespeare's time would be practically unfathomable. NEIL: Perhaps this simile ought to be taken as a time-mark of the production of the play. The history of Portugal engaged a good deal of attention between 1578 and 1602. On the 4th Cel. Or rather bottomleffe, that as fast as you poure affection in, in runs out. Rof. No, that fame wicked Bastard of Venus, that was begot of thought, conceiu'd of spleene, and borne of madnesse, that blinde rascally boy, that abuses euery ones eyes, because his owne are out, let him bee iudge, how deepe I am in loue: ile tell thee Aliena, I cannot be out of the fight of Orlando : Ile goe finde a fhadow, and figh till he come. Cel. And Ile fleepe. 201. in, in] in, it F, et seq. 206. ile tell] I tell Cam. Edd. conj. Exeunt. 200 205 209 207. Orlando] Orland F. Orlanda F ̧. 209, Пle] I'll go Ktly. of August, 1578, the destructive battle of Alcazar, on which George Peele composed a play published in 1594, was fought, and Don Sebastian, the king, was lost on the field..... In 1589, before the public exultation at the defeat of the Spanish Armada had subsided, a band of adventurers, 21,000 in 180 vessels, engaged in an expedition into Portugal, under the command of Sir Francis Drake and Sir John Norris, in which the Earl of Essex also had a share. Instead of returning with the bays of victory, 11,000 persons perished; of the 1100 gentlemen volunteers, only 350 returned to their native country. They were embayed in its [sic] unknown bottom. In Der Bestrafte Brudermord, founded, it is believed, about 1598, on an early draught of Shakespeare's Hamlet, the Prince of Denmark suggests ironically to his uncle-father, Send me off to Portugal, so that I may never come back again. In 1602 there appeared at London The true History of the late and lamentable Adventures of Don Sebastian, King of Portugal, on which Massinger founded his play, Believe as you List, a drama only recently discovered and printed, whose title is a sort of echo of the play before us. A Portingal Voyage is noticed also as a memorable thing in Webster's NorthwardHo! published in 1607, but acted some time before that date. · 203. thought] This is melancholy, according to Steevens, Malone, Caldecott, and Dyce. It is also moody reflection, according to Halliwell. Or with Schmidt we can take it as applied to love, a passion bred and nourished in the mind.' It is hardly to be taken as care, anxiety, the sense in which Hamlet uses it in 'sicklied o'er with the pale cast of thought,' or as in 'take no thought of the morrow.'-ED. 203. spleene] SCHMIDT: That is, caprice; a disposition acting by fits and starts. WRIGHT: A sudden impulse of passion, whether of love or hatred. 206. ile tell thee] DYCE (ed. iii): Qu. “I tell thee"? This blunder, if it be one, is not uncommon.'-LETTSOM. It is not a blunder. [See Text. Notes, where Lettsom is anticipated.] 207. shadow] STEEVENS: So in Macb. IV, iii, 1: 'Let us seek out some desolate shade, and there Weep our sad bosoms empty.' Scena Secunda. Enter Iaques and Lords, Forreflers. Iaq. Which is he that killed the Deare? Iaq. Let's present him to the Duke like a Romane Conquerour, and it would doe well to fet the Deares horns vpon his head, for a branch of victory; haue you no fong Forrester for this purpose ? Lord. Yes Sir. Iaq. Sing it 'tis no matter how it bee in tune, fo it make noyse enough. Muficke, Song. What shall he haue that kild the Deare? His Leather skin, and hornes to weare: Then fing him home, the reft shall beare this burthen; 5 10 14 Scene IV. Pope, Han. Warb. Johns. Scene continued, Theob. 3. Lord.] 1. F. Cap. 1 Lord. Mal. A Lord. Cam. 8. Lord.] For. Rowe+, Cam. 2. F. Cap. 2 Lord. Mal. 14. For Text. Notes, see p. 231. 1. JOHNSON: This noisy scene was introduced to fill up an interval which is to represent two hours. [See note on Rosalind's first speech in next Scene.] GERVINUS (p. 388): This is characteristic of idle rural life, where nothing of more importance happens than a slaughtered deer and a song about it. [Gervinus presumes also to call this scene a stop-gap.' It is all very well for Dr Johnson to say that this scene is merely to fill up an interval: from him, we accept all notes and rate them as they deserve, but the learned German should have remembered that 'That in the captain's but a cholerick word, Which in the soldier is flat blasphemy.'-ED.] 2. FLOWER (Memorial Theatre Edition): On the occasion of the first representation of As You Like It in the Memorial Theatre, April 30th, 1879, a fallow deer was carried on the stage by the foresters [in this scene] which had been that morning shot by H. S. Lucy, Esq., of Charlecote Park, out of the herd descended from that upon which Shakespeare is credited with having made a raid in his youth. The deer is now stuffed, and carried on whenever the play is acted in Stratford. 4-7. NEIL: Sir Thomas Elyot, in The Governour, 1531, says, regarding the hunting of red deer and fallow: 'To them which in this huntynge do showe moste prowess and actyvyty, a garlande or some other lyke token to be given in sign of victory, and with a joyful manner to be broughte in the presence of hym that is chiefe of the company there, to receive condigne prayse for their good endeavour.'-Bk. I, chap. xviii. 12, 13. MALONE: Shakespeare seems to have formed this song on a hint afforded [the rest shall beare this burthen] by Lodge's Rosalynde: What newes, forrester? hast thou wounded some deere, and lost him in the fall? Care not, man, for so small a losse; thy fees was but the skinne, the shoulder, and the horns.' 14. In the arrangement of this Song, Rowe and Pope followed the Folio, and their 'sagacity' in so doing was sarcastically pronounced by Theobald 'admirable.' 'One would expect,' he continues, in a tone which was intended to be very bitter, 'when they were Poets, they would at least have taken care of the Rhymes, and not foisted in what has Nothing to answer it. Now where is the Rhyme to "the rest shall bear this Burthen"? Or, to ask another Question, where is the sense of it? Does the Poet mean that He, that kill'd the Deer, shall be sung home, and the Rest shall bear the Deer on their Backs? This is laying a Burthen on the Poet, which We must help him to throw off. In short, the Mystery of the Whole is, that a Marginal Note is wisely thrust into the Text; the Song being design'd to be sung by a single Voice, and the Stanza's to close with a Burthen to be sung by the whole Company.' And so Theobald printed it. The rest shall bear this burthen' was placed as a stage-direction in the margin; and then to show that he too was a Poet he thus patched and pieced out the lines: 'Then sing him home: take thou no scorn || To wear the horn, the horn, the horn.' Hanmer, Warburton, and Johnson followed him, except that Hanmer, in line 18, read: ‘And thy own father bore it.' JOHNSON reprinted Theobald's note 'as a specimen,' he said, 'of Mr Theobald's jocularity, and of the eloquence with which he recommends his emendations;' but Johnson adopted Theobald's text nevertheless. CAPELL remodelled the whole Song thus, wherein 'I. V.' and '2. V.' stand for First and Second Voice respectively, and 'both' means both voices: 1. V. What shall he have, that kill'd the deer? 1. V. Then sing him home: both. Take thou no scorn to wear the horn, the lusty horn cho. The horn, the horn, the lusty horn, Capell suggested that if line 18'should be perfected' we might read: 'Ay and thy father,' &c., or 'Ay and his father bore it,' ' meaning his father's father's father; which makes the satire the keener, by extending the blot to another generation.' 'Cho.' means the whole band of foresters, 'Jaques and all.' However much Steevens might laugh at Capell and his crabbed English, and Dr Johnson say of him, 'Sir, if he had come to me, I'd have endowed his purposes with words,' there can be no doubt that Capell's text had deservedly great influence with both of these two editors in their Variorum editions. (Indeed, it is scarcely too much to say that to Theobald and to Capell, more than to any other two editors, is due the largest share of the purity of Shakespeare's text to-day.) Accordingly, in the Variorum of 1773 the lines of the Song were numbered 1 and 2, as Capell had numbered them, but the imitation was not carried so [the rest shall beare this burthen] far as to add I. V. or 2. V., and 'The rest shall bear this burthen' was retained in the margin, whereas, as we have seen, Capell omitted it altogether. In the next Variorum, 1778, Capell's reading was silently adopted in line 15: To wear the horn, the lusty horn.' This, however, was rejected by Malone in 1790, and the text of the Folio substantially retained, except that 'The rest,' &c. was inserted as a stage-direction, I. and 2. as given by Capell were adopted, and before the last two lines was prefixed 'All.' This arrangement Steevens followed in his own edition of 1793; and Boswell also in Malone's Variorum of 1821. In the latter edition BOSWELL has the follow. ing: 'In Playford's Musical Companion, 1673, where this is to be found set to music, the words "Then sing him home" are omitted. From this we may suppose that they were not then supposed to form any part of the song itself, but spoken by one of the persons as a direction to the rest to commence the chorus. It should be observed, that in the old copy the words in question, and those which the modern editors have regarded as a stage-direction, are given as one line.' KNIGHT, the next critical editor (Caldecott confessedly followed the Folio), omitted this line (line 14) altogether, lines 12 and 17 were numbered 1, and lines 13 and 18 were numbered 2, and to line 19 was prefixed 'All.' Knight's note is as follows: The music to this "song" [which is here reprinted from Knight at the end of this note] 'is from a curious and very rare work, entitled Catch that Catch can; or a Choice Collection of Catches, Rounds, &c., collected and published by John Hilton, Batch. in Musicke, 1652; and is there called a catch, though, as in the case of many other compositions of the kind so denomi nated, it is a round, having no catch or play upon the words, to give it any claim to the former designation. It is written for four bases, but by transposition for other voices would be rather improved than damaged. John Hilton, one of the best and most active composers of his day, was organist of St Margaret's, Westminster. His name is affixed to one of the madrigals in The Triumphs of Oriana, 1601, previously to which he was admitted, by the University of Cambridge, as a Bachelor in Music. Hence he was of Shakespeare's time, and it is as reasonable to presume as agreeable to believe that a piece of vocal harmony so good and so pleasing, its age considered, formed a part of one of the most delightful of the great poet's dramas. In Hilton's round the brief line, "Then sing him home," is rejected. The omission was unavoidable in a round for four voices, because in a composition of such limit, and so arranged, it was necessary to give one couplet, and neither more nor less, to each part. But it is doubtful whether that line really forms part of the original text, [where it is] printed as one line without any variation of type. Is the whole of the line a stage-direction? "Then sing him home" may be a direction for a stage procession. Mr Oliphant, in his useful and entertaining Musa Madrigalesca, 1837, doubts whether the John Hilton, the author of the Oriana madrigal, could have been the same that subsequently published Catch that Catch can, as well as another work which he names. This is a question into which we shall not enter, our only object being to give such music, as part of Shakespeare's plays, as is supposed to have been originally sung in them, or that may have been introduced in them shortly after their production.' COLLIER agrees with Knight that the whole of line 14 is clearly only a stage-direction, printed by error as a part of the song in the old copies, but instead of omitting it he places it in the margin, and has the following note: 666 "Then sing him home" has reference to the carrying of the lord, who killed the deer, to the Duke; and we are to suppose that the foresters sang as they quitted the stage for their "home" in the wood. "The rest shall bear this burden" alludes to the last six |