I. i. 108. Good leave; kind, ready leave. Cf. 1 Henry IV., I. iii. 20; also King John, I. i. 230.

I. i. 112. Being ever; "they" must here be understood.

I. i. 114. Died to stay; died if she had stayed.

I. i. 119. Forest of Arden. Cf. Spenser's Astrophel, a Pastoral Elegy, 1. 95

"So wede a forest and so waste as this:
Not famous Ardeyn, nor foul Arlo is.'

دو

I. i. 120. A many; we say "a few," but "a many" has come to be used only by the uneducated. It was, however, used frequently by Elizabethan writers. Cf. "A many of our bodies" (Henry V., IV. iii. 95) and "But many a many foot of land the worse" (King John, I. i. 183).

I. i. 123. Fleet the time; pass away the time, let the time flit by. Cf. Spenser's Faërie Queene, Bk. IV. Canto ix. St. 33

"And then another till that likewise fleet."

I. i. 124. Golden world; the golden age. "World" is elsewhere used by Shakespeare for "age."

I. i. 133. Shall acquit him; must acquit himself.

I. i. 139. brook . . . well; make up your mind to suffer.

I. i. 145. By underhand means; Oliver here suggests that open interference would be resented by Orlando.

I. i. 149. Emulator; used in a bad sense, as of one who envies or is jealous of another. Emulation is the quality; and in this sense it is referred to in Julius Cæsar, II. iii. 14.

I. i. 150. Contriver; also used in a bad sense. triver of all harms" (Macbeth, III. v. 7).

Cf. "The close con

I. i. 151. As lief; here and elsewhere, "As willingly." Cf. Much Ado About Nothing, II. iii. 84.

I. i. 153. Thou wert best; it were best for you.

66

disgrace himself.”

I. i. 154. Grace himself on thee; shew himself to advantage, do himself credit in the match with you. We still say Cf. Greene, Friar Bacon and Friar Bungay, 1. 2211—

"Brought from her homely cottage to the Court,
And graced with Kings, Princes and Emperors."

I. i. 155. Practise ; in the bad sense of "plot." Cf. Greene's Princelie Mirror of Peereles Modestie (“didest prevent the practises of Saule, which pretended to slay his servant Davide"). (Greene's Works, Grosart Edition, Vol. III. p. 32, 1. 27.)

I. i. 161. Anatomise; to lay bare, as one does in dissecting.

I. i. 165. Payment; punishment. We speak of paying out.

I. i. 169. This gamester; this young fellow up to his games—a lighthearted, tricky youth.

I. i. 172. Noble device; high aims, noble plans, or schemes.

I. i. 173. Enchantingly beloved; at once beloved and fascinating— holding people under a sort of spell.

I. i. 174. In the heart of the world; in everybody's affection: of great popularity.

I. i. 176. Misprised; undervalued, despised. Fr. mépriser. Cf. Act I. Sc. ii. 165; also Much Ado About Nothing, III. i. 52.

I. i. 178. Kindle.

term "warmed up to."

thither; I'll incite him to this wrestling. Cf.

I. ii. 1. Sweet my coz. Cf. Macbeth, IV. ii. 14 (" My dearest coz"); and as an example of the inversion of the adjective take Twelfth Night, II. iii. 51

"Then come kiss me, sweet and twenty."

I. ii. 5. Learn; teach. The Tempest, I. ii. 366. Scottice, "He learnt me to read."

I. ii. 10. So; if it be so; "provided that."

Cf.

emphasis.

I. ii. 13. Tempered; composed of, mixed up, as ingredients. Cymbeline, V. v. 250 (" to temper poisons"); also Exodus xxix. 2 (" Cakes unleavened tempered with oil").

I. ii. 17. But I; except me.
I. ii. 17. Nor . . none;

Cf. Act I. Sc. i. 171.

double negative: a frequent figure in Shakespeare. Cf. 1. 28 of this scene; also The Comedy of Errors, IV. ii. 7. I. ii. 18. Like; likely. Cf. Act IV. Sc. i. 68. The old English way of forming an adverb was simply to use the dative case of the adjective which ended in ë. Thus we had sweetë for sweetly, roughë for roughly: then the "e" dropped off, and hence it comes that in English we have so adverbs the same as adjectives.

many

I. ii. 20. Render; to give back. The "again" is here redundant. Cf. Act II. Sc. v. 27.

I. ii. 32. Good housewife. Cf. "false housewife," Antony and Cleopatra, IV. xv. 46. It has been suggested that in this passage Shakespeare confused Fortune and her rolling wheel with the spinning wheel of Fate, who spins the thread of Life, Shakespeare has elsewhere described Fortune and her wheel, the symbol of movement and incon

From the English translation (Cott. MS., XVth Cent.) of William de
Deguilleville's Pilgrimage of Human Life.

stancy (Henry V., III. vi. 32-40). The "housewife" alludes to Fortune as a busy woman-not to her special occupation.

I. ii. 36. Bountiful blind woman; we still talk of one who dispenses gifts as a "Lady Bountiful."

I. ii. 41. Fortune and Nature. Cf. Lodge's Rosalynde.

I. ii. 46. Flout; mock, tease. Cf. the old song, "Phillida flouts me"; also Much Ado About Nothing, I. i. 290.

I. ii. 50. Natural; idiot. The name is still used in Scotland. Dekker uses it in the Girl's Hornbook, Chap. II. Cf. The Tempest, III. ii. 27. I. ii. 56. Whetstone; a grindstone against which knives and scythes are sharpened. Cf. a contemporary publication, The Whetstone of Wit. I. ii. 57. Wit, whither wander you? wit, whither wilt? satirical saying. (See Note, Act IV. Sc. i. 167.)

An old

I. ii. 59. Messenger; Touchstone's reply-his first speech in the play -is a key to his character; the simple and objective; not self-conscious, though a professional fool.

Cf. the

I. ii. 67. Forsworn; i.e., the knight did not belie himself. old play, Damon and Pithias (Dodsley's Old Plays, Vol. IV. p. 60, Edition Hazlitt).

I. ii. 8o. Here there is a confusion between Celia and Rosalind, to whom, in the folios, this speech is given. (See Introduction.)

I. ii. 84. Taxation; censure: to tax, to accuse or censure. Cf. Act II. Sc. vii. 71; Act II. Sc. vii. 86; and Hamlet, I. iv. 18.

I. ii. 92. Put on us; impart to, or inflict upon us. Cf. Twelfth Night, V. i. 70.

I. ii. 104. Laid on with a trowel; we still talk of fulsome flattery as being "laid on thick." That is the meaning here, viz., altogether overdone. I. ii. 195. Rank; position: with play on word, as in “rank odour.” Cf. Cymbeline, II. i. 17; Hamlet, I. ii. and elsewhere.

I. ii. 107. Amaze; confuse, confound. The meaning in Shakespeare's day, of "amaze" was that which is attached to the word in Mark xiv. 33 of the Authorised Edition of the Bible, "Began to be sore amazed and very heavy" perplexed.

I. ii. 113. To do; to be done. Note this use of the active for the passive infinitive. This was frequently employed by Shakespeare, as in Macbeth, V. vii. 28 ("Little is to do" to be done); Antony and Cleopatra, II. vi. 60 ("What's next to do").

I. ii. 119. Old tale; the sort of "once upon a time" ring about the outset of the narrative.

I. ii. 122. Bills on their necks. Cf. Lodge's Rosalynde, where Saladyne wears "his forrest bill on his necke." (See Introduction.) The bill was a chopper, or axe (A.S. bill), and we still use a "bill-hook." There is also a play on the meanings of the word bill (the bird's bill) from the same root (Skt. bil, to break).

I. ii. 130. Dole; lamentation. Cf. dolorous. summer Night's Dream, V. i. 283.

Fr. deuil. Cf. Mid

"I promise you!”

I. ii. 139. Promise; assure: still in popular use. I. ii. 140. Broken music; an old musical term. "Some instruments, such as viols, violas, flutes, etc., were formerly made in sets of four, which, when played together, formed a 'consort.' If one or more of the instruments of one set were substituted for the corresponding ones of another set, the result was no longer a 'consort,' but 'broken music."" (Chappell, quoted by Aldis Wright, Note, Clarendon Press Edition.) I have not seen it remarked, but it seems a natural suggestion that the figure "broken music in his sides," applied to a wrestler with broken ribs, while referring rather disparagingly, perhaps, to this particular kind of music, has a further and special reference to the crepitus which is the actual symptom of fracture of ribs, and can be plainly heard by putting the ear to the chest when the victim breathes. (See Erichsen's Surgery, Vol. II. p. 580.) Else there need be no thought of music-broken or other-in the wrestler's sides. Of course the broken is in punning allusion also to the ribs.

I. ii. 153. Looks successfully; looks as if he would prove successful. Cf. Taming of the Shrew, IV. i. 192. Note the use of the adverb for an adjective and compare The Tempest, III. i. 32.

I. ii. 158. Such odds; such advantage on one side.

I. ii. 164. Princess calls; note here that though it is Celia who calls, the Duke speaks to both ladies, and Orlando says "them." (See Introduction signs of haste.)

I. ii. 185. Wherein; this word has been variously commented on. It appears to relate to the "to deny anything," and might be expressed by "in this." "I confess that, in denying . . . I am guilty." Some have taken it as equivalent to "because."

I. ii. 185. Me; note the reflexive use here of the pronoun.

I. ii. 193. Only in the world; I only fill up in the world a place which, etc. Note the transposition of "only" here. It should stand next

the verb.

I. ii. 199. Deceived in you; agreeably deceived.

I. ii. 204. Working; sphere of action or of activity. Cf. 2 Henry IV., IV. iv. 41.

I. ii. 210. Come your ways; Come on. Cf. “Come away,” in present use in Scotland. Note the form "ways," which is the O. E. genitive used with an adverbial force.

I. ii. 219. Well breathed; I have not yet fetched my breath: as country people say, "I have not even stretched my legs yet," when they mean they are not tired.

I. ii. 228. Still; here means always. Cf. The Tempest, I. ii. 229.

I. ii. 229. Shouldst ; for wouldst. Note the use of "should" when contingent futurity is clearly implied. Cf. Merchant of Venice, I. ii. 100. I. ii. 239. Known the young man his son; "to be" is understood. Cf. Tennyson's In Memoriam

"I held it truth with him who sings."

Cf. also "Count it a mistake," etc.
I. ii. 240. Unto; in addition to.

I. ii. 246. Justly; just in the same way as.

I. ii. 248. Out of suits with; this may mean either no longer wearing Fortune's livery, as her servant, or it may apply to one whose suit or petition Fortune has dismissed.

I. ii. 248. Could give more; the idea is "Would give more if the ability went with the will."

I. ii. 251. Better parts. Cf. Macbeth, V. viii. 18; also “ Atalanta's better part," Act III. Sc. ii., and the adage, "Discretion is the better part of valour."

I. ii. 253. A quintain; "Running at the quintain" was an old English sport. The quintain was a wooden erection, having a broad "crosspiece"