SIMPLES, herbs used in medicine; IV.
i. 17.

SIR, a title bestowed on the inferior
clergy, hence Sir Oliver Mar-text,
the country curate; probably a trans-
lation of "Dominus," still applied
to "Bachelors "
at the University;
III. iii. 43.
SMIRCH, besmear, darken; I. iii.

114.

SMOTHER;" from the smoke into the s."; thick suffocating smoke; I. ii. 299.

SNAKE, used as a term of scorn; IV.
iii. 71.

So, it, provided that; I. ii. II.
SORTS, kinds, classes; I. i. 174.
SOUTH-SEA OF DISCOVERY, a voyage of
discovery over a wide and unknown
ocean; the whole phrase is taken by
some to mean that a minute's delay
will bring so many questions that to
answer them all will be like a voyage
of discovery. Perhaps the reference
is to Rosalind's discovery of her
secret, of the truth about herself;
III. ii. 207.
SPEED, patron; I. ii. 222.
SPLEEN, passion; IV. i. 217.
SQUANDERING, random; II. vii. 57.
STAGGER, hesitate; III. iii. 49.
STAY, wait for; III. ii. 221.
STICKS, strikes, stabs; I. ii. 254.
STILL, Continually; I. ii. 238.
STILL MUSIC, i.e. soft, low, gentle
music; V. iv. 113-114.

STRAIGHT Straightway, immediately;
III. v. 136.

SUCCESSFULLY, likely to succeed; I. ii.
162.

SUDDENLY, quickly, speedily; II. ii.

19.

SUIT, used quibbingly, (1) petition, (2)
dress; II. vii. 44.
SUITS favours (with a play upon
"suit," "livery "); I. ii. 258.

SUN, "to live i' the s." i.e. to live in
open-air freedom; II. v. 41.
SURE, firmly joined; V. iv. 141.
SWASHING, swaggering; I. iii. 122.
SWIFT, keen of wit; V. iv. 65.

TA'EN UP, made up; V. iv. 50.
TAXATION, censure, satire; I. ii. 91.
TEMPERED, composed, blended; I. ii.

14.

THATCHED HOUSE, alluding to the
story of Baucis and Philemon; III.
iii. II.

THAT THAT=that which; V. iv. 62.
THOUGHT, melancholy; or perhaps

"moody reflection"; IV. i. 217. THRASONICAL, boastful (from Thrasc the boaster, in the Eunuchus of Terence); V. ii. 34.

THRICE-CROWNED QUEEN, ruling in
heaven, earth, and the underworld.
as Luna, Diana, and Hecate; III.
ii. 2.

THRIFTY; "the th. hire I saved," i.e.
"that which by my thrift I saved out
of the hire"; II. iii. 39.
To, as to; II iii. 7.

TOUCHES, characteristics; III. ii. 160.
TOWARD, at hand; V. iv. 35.

Tov, bagatelle, trifling affair; III. iii.
76.

TRAVERSE, Crossways; III. iv. 45.
TROW YOU, know you; III. ii. 189.
TURN'D INTO, brought into; IV. iii.

23.

UMBER, brown pigment, brought from
Umbria; I. iii. 114.

UNCOUTH, unknown, strange; II.
vi. 6.

UNEXPRESSIVE, inexpressive, unable to
be expressed; III. ii. 1o.
UNKIND, unnatural; II. vii. 175.
UNQUESTIONABLE, unwilling to be
conversed with; III. ii. 394.
UNTO, in addition to; I. ii. 250.

DRAMATIS PERSONE.

Notes.

The pronunciation of 'Jaques' is still somewhat doubtful, though the metrical test makes it certain that it is always a dissyllable in Shakespeare: there is evidence that the name was well known in England, and ordinarily pronounced as a monosyllable; hence Harrington's Metamorphosis of Ajax (1596). The name of the character was probably rendered ‘Jakës': the modern stage practice is in favour of ' Jaq-wes.'

I. i. 1. it was upon this fashion: bequeathed,' &c. The Folio does not place a stop at 'fashion,' but makes 'bequeathed' a past participle; the words 'charged'.. 'on his blessing' presuppose 'he' or my father'; the nominative, may, however, be easily supplied from the context, or possibly, but doubtfully, 'a' (='he') has been omitted before 'charged.' There is very much to be said in favour of the Folio reading; a slight confusion of two constructions seem to have produced the difficulty. Warburton, Hanmer, and Capell proposed to insert 'my father' before 'bequeathed.' Others punctuate in the same way as in the present text, but read 'he bequeathed' or 'my father bequeathed'; the Cambridge editors hold that the subject of the sentence is intentionally omitted.

I. ii. 89. The Folio prefixes 'Rosalind' to the speech: Theobald first proposed the change to Celia,' and he has been followed by most editors. Capell suggested Fernandine' for 'Frederick' in the previous speech. Shakespeare does not give us the name of

Rosalind's father: he is generally referred to as 'Duke Senior': Celia's father is mentioned as 'Frederick' in two other places (1. 246 of this scene, and V. iv. 160). One has, however, a shrewd suspicion that Touchstone is referring to the exiled king as 'ola Frederick,' and that Rosalind speaks the words 'my father's love is enough to honour him;' the expression is so much in harmony with her subsequent utterance, ll. 247-250:

'My father loved Sir Rowland as his soul.

And again, in the next scene, l. 30:

'The Duke my father loved his father dearly.

I. ii. 220. You mean'; Theobald proposed 'An' you mean,' and the Cambridge editors suggest that 'and' for ‘an' (=if) may be the right reading, omitted by the printer, who mistook it for part of the stage-direction' Orl. and' for Orland.'

I. ii. 284. the taller'; but Rosalind is later on described as 'more than_common tall,' and Celia as 'the woman low, and browner than her brother': probably 'taller' is a slip of Shakespeare's pen: 'shorter,' ' smaller,' 'lesser,' ‘lower,' have been variously proposed; of these 'lesser strikes one perhaps as most Shakespearian.

I. iii. 104. 'change,' &c., Folio 1; the other Folios read 'charge, i.e. 'burden,' probably the true reading.

I. iii. 130. There has been much discussion of the scansion of this line; several critios, in their anxiety to save Shakespeare from the serious charge of using a false quantity, propose to accent 'Aliena' on the penultimate, but for all that it seems most likely that the line is to be read

'No longer Céllya bút| Alí\ena.'

II. i. 5. 'here feel we but'; Theobald first conjectured 'but' for

'not' of the Folios, and his emendation has been accepted by many scholars, though violently opposed by others. Most of the discussions turn on the penalty of Adam,' which ordinarily suggests toil-in the sweat of thy brow shalt thou eat bread'-but in this passage Shakespeare makes the penalty to be "the seasons' difference," cp. Paradise Lost, x. 678, 9:—

Else had the spring Perpetual smiled on earth with vernant flowers.

II. i. 13-14. 'like the toad, ugly and venomous,' &c. A favourite Euphuistic conceit, e.g. 'The foule toade hath a faire stone in his head, Euphues, p. 53 (ed. Arber), based on an actual belief in toadstones. The origin of the belief is traced back to Pliny's description of a stone as 'of the colour of a frog.'

II. iii. 12. 'no more do yours,' a somewhat loose construction, but one easily understood, the force of the previous sentence being to some kind of men their graces serve them not as friends.'

II iii. 71. 'seventeen'; Rowe's emendation for 'seaventie' of the Folios.

II. iv. 1. 'weary'; Theobald's emendation for 'merry' of the Folios, and generally adopted; some scholars are in favour of the Folio reading, and put it down to Rosalind's assumed merriment ; her subsequent confession as to her weariness must then be taken as an aside.

II. iv. 52. 'from whom,' i.e. from the peascod; similarly ‘her' in the next line: he was wooing the peascod instead of his mistress.

II. v. 3. turn,' so the Folios: Pope substituted 'tune'; but the change is unnecessary; according to Steevens to turn a tune or note' is still a current phrase among vulgar musicians