Chapter XXXVII: Epilogue: Warburton. Seymour supposes what follows to be spurious

6: _then_] _tho’_ Kenrick conj.

7: _cannot_] _can_ Pope.

12: _please you_] F1 F2. _pleases you_ F3 F4. _pleases them_ Hanmer (Warburton). _please them_ Steevens.

_and I_] _and so I_ Steevens (Farmer conj.).

14: _hates_] _hate_ Pope.

_them_] _them) to like as much as pleases them_ Hanmer
(Warburton).

20: [Exeunt.] F2 F3 F4. [Exit. F1. ~~~~~

NOTES.

NOTE I.

Le Beau is so called in F1 on his first entrance, afterwards always ‘Le Beu.’

The banished Duke is called Duke Senior in the stage directions.

Rosalind is spelt indifferently thus and ‘Rosaline.’

Rowe, in his second edition, besides ‘Touchstone’ and ‘William,’ introduced among the Dramatis Personæ ‘A clown in love with Audrey.’ He was followed by Pope, Theobald, Hanmer, and Warburton. Johnson struck it out.

NOTE II.

I. 1. 46. The correction _revenues_ for _reverence_ has been made in MS. by some unknown hand in Capell’s copy of the third Folio. The writing somewhat resembles Warburton’s.

NOTE III.

_I._ 2. 79. There can be no doubt that the words ‘wise men’ here printed as two, in obedience to modern usage, were frequently in Shakespeare’s time written and pronounced as one word, with the accent on the first syllable, as ‘madman’ is still. See Sidney Walker’s _Criticisms,_ Vol. II. p. 139.

NOTE IV.

I. 2. 147, 149. It does not seem necessary to make any change in the text here. Perhaps Shakespeare wrote the prose parts of the play hastily, or it may be that Orlando, who is summoned by Celia, but whose thoughts are fixed upon Rosalind, is made to say ‘them,’ not ‘her,’ designedly.

NOTE V.

I. 2. 187. Before we were aware of Mason’s conjecture, it occurred to us that the sentence would run better thus: ‘An you mean to mock me after, you should not have mocked me before.’ ‘And,’ for ‘an,’ is a more probable reading than ‘if,’ as it may have been omitted by the printer, who mistook it for part of the stage direction—‘Orl. and’ for ‘Orland.’ We have since discovered that Theobald proposed ‘An.’

NOTE VI.

I. 3. 92. See a discussion as to the proper punctuation and meaning of the words ‘No, hath not?’ in _Notes and Queries_, 1st Ser. Vol. VII. p. 520, and in Mr Singer’s note on this passage. It may be doubted whether the passages quoted by Mr Grant White are apposite to this, where there is a double negative.

NOTE VII.

III. 2. 317. In the fourth Folio, and in Rowe’s two editions, the word ‘kindled’ happens to be in two lines, and therefore divided by a hyphen. Pope, misled by this, printed it in his first edition as a compound, ‘kind-led,’ interpreting it probably with reference to the gregarious habits of the animal in question.

NOTE VIII.

III. 3. 80–83. Johnson proposes to arrange these lines as follows:

_Clo...._ Come, sweet Audrey; we must be married, or we must live in bawdry.

_Jaq._ Go thou with me, and let me counsel thee. [_They whisper._

_Clo._ Farewell, &c.

NOTE IX.

III. 4. 38. As the word ‘puisny’ is here used not in the modern sense of ‘diminutive,’ but in the now obsolete sense of ‘inferior, unskilled,’ we think it better to retain the spelling of the Folios.

NOTE X.

IV. 2. 12. The words ‘Then sing him home, the rest shall beare this burthen’ are printed in the Folios as part of the song. Rowe and Pope made no change. Theobald first gave ‘the rest shall bear this burthen’ as a stage direction. Mr Knight, Mr Collier, Mr Grant White and Mr Dyce take the whole to be a stage direction, Mr Grant White reading ‘_They_ sing him home,’ for ‘_Then_.......’ Mr Halliwell prints ‘Then sing him home, the rest shall bear—This burthen.’ Mr Knight gives in a note the music written for this song by Hilton, and published in 1652. In Hilton’s setting, the words ‘Then sing him home, &c.’ are left out, but that, as Mr Knight implies, is not conclusive as to the original song.

Capell’s arrangement is as follows:

1 v. _What......deer?_ 2 v. _His.........wear._ 1 v. _Then ......home._ BOTH. _Take ......born._ 1 v. _Thy ........wore it._ 2 v. _And ........bore it._ CHO. _The horn......scorn._

NOTE XI.

IV. 3. 164. Malone wrongly attributes the reading ‘Sir’ for ‘Sirra’ to the second Folio.

NOTE XII.

V. 3. 17. The Edinburgh MS. mentioned in our footnotes is one in the Advocates’ Library (fol. 18), and the song has been reprinted from it in Chappell’s _Collection of National English Airs_, ed. 1840, p. 130.

ADDENDA.

Love’s Labour’s Lost, IV. 1. 92. _Monarcho_] _mammuccio_ Hanmer.

A Midsummer-Night’s Dream, IV. 1. 205. _a patched_] Ff. _patcht a_ Qq.

CAMBRIDGE: PRINTED AT THE UNIVERSITY PRESS.

TRANSCRIBER'S ENDNOTES.

Linenotes are moved from the end of each page to the end of each Scene. Line breaks in dialogue—including prose and poetry passages—are unchanged. The exception to this is that words originally broken by a hyphen over two lines are rejoined on one line. Line numbers are from the original text. Ellipses look like the original, unless the original was at a line-break that has been eliminated in this version—for example, in a linenote, footnote, or general note.

Preface