Orl. If this be fo, why blame you me to loue you? Rof. Why do you speake too, Why blame you mee to loue you. Orl. To her, that is not heere, nor doth not heare. Rof. Pray you no more of this, 'tis like the howling of Irish Wolues against the Moone: I will helpe you if I can : I would loue you if I could: To morrow meet me altogether: I wil marrie you, if euer I marrie Woman, and Ile be married to morrow: I will satisfie you, if euer I fatisfi'd man, and you shall bee married to morrow. I wil content you, if what pleases you contents you, and you shal be married to morrow: As you loue Rofalind meet, as you loue Phebe meet, and as I loue no 106. Why...too] Ff, Cald. Coll. i, Dyce, Wright, Rlfe. Whom...to Sing. Who... to, Rowe et cet. III. can] can [To Orl.] Johns. can [To Sil.] Cap. et seq. seq. could] could [To Phe.] Johns. et seq. 112. altogether] all together Rowe et 113. to morrow] tomorrow [To Phe.] Pope et seq. 114. to morrow] tomorrow [To Orl.] Pope et seq. Huds. fatisfi'd] satisfy Douce, Dyce iii, 116. to morrow] tomorrow [To Sil.] Pope et seq. 117. Rosalind] Rosalind [To Orl.] Johns. et seq. Phebe meet] Phebe meet [To Sil.] Johns. et seq. 106. Why... too] COLLIER (ed. i): This reading is perfectly intelligible when addressed to Orlando, who replies that he speaks too, notwithstanding the absence of his mistress. If altered, it need not be altered, as by the modern editors, to bad English: 'Who do you speak to?' COLLIER (ed. ii): Here again we follow the (MS), the old text being: 'Why do you speak too?' The grammar is defective, according to the strictness of modern rules, but perfectly intelligible, and no doubt what Shake peare wrote: Whom do you,' &c. is a modern colloquial refinement. [I cannot see the trace of a sufficient reason for deserting the Folio.-ED.] 110. Irish Wolues] MALONE: This is borrowed from Lodge's Novel: 'I tell thee, Montanus, in courting Phoebe, thou barkest with the wolves of Syria against the moone.' [See Appendix.] CALDECOTT: That is, the same monotonous chime wearisomely and sickeningly repeated. In the passage to which Malone refers it imports an aim at impossibilities, a sense, which, whatever may be Rosalind's meaning, cannot very well be attached to it here. WRIGHT: In Ireland wolves existed as late a the beginning of the last century. Spenser, in his View of the Present State of Ire land (p. 634, Globe ed.), mentions some of the Irish superstitions connected with the wolf. [The clue to this allusion is probably lost. There were wolves in England which presumably howled against the moon quite as monotonously or dismally as in Ireland. We know well that a wolf 'behowled the moon' on one certain Midsum mer's Night. But these are Irish wolves-can there be an adumbration of the Irish wailings? The loan from Lodge, which Malone alleges, is not so manifest. It is a far cry, or, rather, a far bark,' from Syria to Ireland, and, as Caldecott says, the two phrases are dissimilar in meaning.—ED.] woman, Ile meet: so fare you wel : I haue left you com 118 120 Scona Tertia. Enter Clowne and Audrey. Clo. To morrow is the ioyfull day Audrey, to morrow will we be married. Aud. I do defire it with all my heart: and I hope it is no dishonest desire, to desire to be a woman of ỷ world? Heere come two of the banish'd Dukes Pages. Clo. By my troth well met : come, fit, fit, and a fong. 2. Pa. We are for you, fit i'th middle. 1. Pa. Shal we clap into't roundly, without hauking, Scene IV. Pope, Han. Warb. Johns. 1, &c. Clowne] Touchstone Mal. et seq. 118. you commands] ALLEN (MS): I suspect that the compositor has left out your here as a repetition: 'I have left you your commands,' just as an officer would now say: 'I have given you your orders.' 5. dishonest] As we have had 'honest' in the sense of chaste in I, ii, 38; III, ii, 15, so here' dishonest' means unchaste. WRIGHT: In the character of the persons prefixed to Ben Jonson's Every Man out of his Humour, Fallace is described: 'She dotes as perfectly upon the courtier, as her husband doth on her, and only wants the face to be dishonest.' 5. world] STEEVENS: To go to the world is to be married. So in Much Ado, II, i, 331: Thus goes every one to the world but I. ... I may sit in a corner and cry heigh-ho for a husband!' WHITER: So also in All's Well, I, iii, 20: If I may have your Ladyship's good will to go to the world.' [Dyce defines it 'to commence housekeeper,' which is good as a hint of what, it may be presumed, is the origin of the phrase: when a young couple married and set up for themselves, they really entered the world and its ways for the first time.—ED.] 10. sit i'th middle] DINGELSTEDT (p. 234): This is clearly a reference to an old English proverb [Sprichwort]: 'hey diddle diddle, fool in the middle.' [See Roffe's note below, on line 16.] 11. clap into't] SCHMIDT: To enter upon, to begin with alacrity and briskness. Thus, Meas. for Meas. IV, iii, 43: 'I would desire you to clap into your prayers; for 12 or spitting, or saying we are hoarse, which are the onely prologues to a bad voice. 2. Pa. I faith, y'faith, and both in a tune like two gipfies on a horse. Song. It was a Louer, and his laffe, With a hey, and a ho, and a hey nonino, 12. the onely] only the Cap. conj. Huds. your only Wh. i. 18, 20, 21. As two lines each, Cap. 19. feild] F, 15 19 look you, the warrant's come'; Much Ado, III, iv, 44: Clap's into "Light o' Love," that goes without a burden.' 12. the onely] WHITE (ed. i): Hawking and spitting are often only the prologues to a bad voice; but no one . . . . can consider them the only premonitory symptoms of that inflection, and it does not appear that 'the only' was an old idiom for only the. Your only, meaning the chief, the principal, was, however, an idiom in common use; and it seems plain that it is here intended, the printer having mistaken for ye. WHITE (ed. ii): The only,' as if without 'the'; only prologues. [See I, ii, 185.] 14, 15. a tune... a horse] That is, one. Compare Doth not rosemary and Romeo both begin with a letter.'—Rom. & Jul. II, iv, 188. 6 16. Song] The music, with the words, which is here reprinted is taken from Chappell's Popular Music of the Olden Time, p. 205. The transposition of the stanzas which we find here was also independently made by Dr JOHNSON, who says that it had been also made by Dr Thirlby in a copy containing some notes on the margin ' which Dr Johnson had 'perused by the favour of Sir Edward Walpole.' Malone's slighting remark (in reference to Steevens's conjecture), that the passage does not deserve much consideration,' is expanded by Tieck into a very positive sneer. 'It is not impossible,' says TIECK (p. 212), 'that the arrangement of the stanzas of this utterly silly ditty may have been intentionally adopted in the Folio to produce this confused effect.'-ED. CHAPPELL: [This Song is taken] from a Qto MS, which has successively passed through the hands of Mr Cranston, Dr John Leyden, and Mr Heber; and is now in the Advocates' Library, Edinburgh. It contains about thirtyfour songs with words (among them the Farewell, dear love,' quoted in Twelfth Night), and sixteen song and dance tunes without. The latter part of the MS, which bears the name of a former proprietor, William Stirling, and the date of May, 1639, consists of Psalm Tunes, evidently in the same handwriting, and written about the same time as the earlier portion. . . . . The words used here are printed from the MC in the Advocates' Library. It was a lover and his lass, with a hey, with a ho, with a hey non ne [In the words which accompany the music, as given by Chappell, the chiefest variations are ring tune' instead of 'rang tune'; line 23 reads: Then, pretty lovers, take the time'; line 29 is: These pretty country fools did lie'; and line 33: How that life was but a flower.'] KNIGHT: It seems quite clear that this manuscript cannot have been written later than sixteen years after the publication of the present play, and may have existed at a much earlier period; it is, therefore, not straining probability too hard to suppose that this air was, in some form,-most likely as a duet, unless the two Pages sang in unison,-performed in the play, either as it was originally acted or not long after its production. ROFFE (p. 16): Mr Linley has set this poem as a duet for the two Pages; it occurs to me as being very possible that Shakespeare contemplated a trio between the Pages and Touchstone, who, it may be observed, is the first to ask for a song, and upon the Pages making ready to comply, Touchstone is requested to sit i' the middle.' It might also strike many that, granting Touchstone and the Pages personated by competent vocalists, the dramatic effect of a trio would be very superior to that of a duett. Should an objection be raised to this view, grounded upon the Pages' ideas as to 'clapping into it roundly,' both in a tune,' that objection, even if allowed, would not necessarily shut Touchstone out from joining in the three lines common to every verse, and beginning at ' In the pretty spring-time.' It would be most highly natural, as well as dramatically effective, that Touchstone should do so. 18. WRIGHT: In the Preface to his Ghostly Psalms, Coverdale (Remains, p. 537, Parker Soc.) refers to these meaningless burdens of songs: 'And if women, sitting at their rocks, or spinning at the wheels, had none other songs to pass their time withal, than such as Moses' sister, Glehana's [Elkanah's] wife, Debora, and Mary the mother of Christ, have sung before them, they should be better occupied than with hey nony, nony, hey troly loly and such like phantasies.' [In serious poetry, Sir Philip Sidney reached, I think, the extreme limit in the use of such like phantasies,' when he bequeathed to us the following stanza: Fa la la leridan, dan dan dan deridan: || Dan dan dan deridan deridan dei: || While to my mind the outside stood || For messenger of inward good.'-Arcadia, p. 486, ed. 1598.-ED.] In the Spring time, the onely pretty rang time. When Birds do fing, hey ding a ding, ding. Sweet Louers loue the spring, And therefore take the prefent time, With a hey,& a ho, and a hey nonino, Betweene the acres of the Rie, With a hey, and a ho,& a hey nonino: 20 25 In fpring time, &c. 30 This Carroll they began that houre, With a hey and a ho,& a hey nonino: How that a life was but a Flower, In fpring time, &c. Clo. Truly yong Gentlemen, though there vvas no great matter in the dittie, yet ỷ note was very vntunable 20. onely] Om. Rowe ii+, Cap. Steev. '85. rang] Ff, Rowe i, Cald. Spring Rowe ii+, Cap. rank Steev. Mal. Var. ring Steev. conj. Knt et cet. 23-26. Transposed to follow line 34, Johns. et seq. (except Cald. Knt). 26. In] Ff. In the Rowe+, Cap. Steev. Dyce i, Clke. 35 30, 34. In] In the FF, Rowe +, Cap. Steev. Dyce i, Clke. 31. This] F. The FF, Rowe +, Cap. Steev. 32. With a hey] With a hoy F.. 33. a life] our life Han. Coll. ii. life Steev. '85. 36. vntunable] untimeable Theob. Warb. Sing. Wh. Coll. ii, iii, Dyce iii, Huds. 19. W. RIDGEWAY (The Academy, 20 Oct. 1883): Is there not here a reference to the ancient system of open-field cultivation? The corn-field being in the singular implies that it is the special one of the common fields which is under corn for the year. The common field being divided into acre-strips by balks of unploughed turf, doubtless on one of these green balks, 'Between the acres of the rye These pretty country folks would lie.' 20. rang] STEEVENS: I think we should read 'ring time,' i. e. the aptest season for marriage. WHITER (p. 60): Why may not 'rang time' be written for 'range time,' the only pleasant time for straying or ranging about? [The MS in the Advocates' Library confirmed Steevens's conjecture.] 36. vntunable] THEOBALD: It is evident, from the sequel of the dialogue, that the poet wrote untimeable. Time and 'tune' are frequently misprinted for one another in the old editions. [It may be remarked, too, that time and tune were formerly synonymous.-DYCE, Strictures, &c., p. 70.] JOHNSON: This emendation is received T |