NOTES. NOTE I. Le Beau is so called in F, 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. I. 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. 181. 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 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. 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. CAMBRIDGE: PRINTED AT THE UNIVERSITY PRESS. |