95 That little cares for buying any thing. Rof. I pray thee, if it stand with honestie, Buy thou the Cottage, pafture, and the flocke, And thou fhalt haue to pay for it of vs. Cel. And we will mend thy wages: I like this place, and willingly could Cor. Affuredly the thing is to be fold: 97. pafture] and the pasture FF. 99-101. Two lines, ending place...it, Cap. et seq. 100 105 Exeunt. 100, 101. I... Wafte] One line, Rowe ii+. 96. honestie] In the wide range of meanings which this word bears, extending from chastity to generosity, the meaning which best suits the present context is, I think, honour, that is, honourable dealing towards Silvius.-ED. 99, 101. Unquestionably, Capell's division is better than the Folio's, which in fact is not rhythmical at all. At the same time, an extra syllable in the third foot is objectionable: 'And we | will mend | thy wages: | I like this place.' To be sure, if the line must be of five feet, we may make it a little smoother by reading wage. But the thought closes so completely with wages' that I would close the line with it, and put a full stop after it. Let the next two lines divide at 'waste': 'I like this place, | and willingly | could waste || My time in it.' All of which, after all, is merely scansion for the eye. An ear instinctively rhythmical decides such divisions for itself.-ED. IOI. Waste] That is, simply spend, pass, as in Mer. of Ven. III, iv, 14: ‘Companions That do converse and waste the time together.' See II, vii, 141, post : ' And we will nothing waste till you return.' 105. Feeder] DYCE: A servant, a menial; as in Tim. II, ii, 168, 'our offices . oppressed With riotous feeders,' and in Ant. & Cleop. III, xiii, 109: 'By one that looks on feeders.' WALKER (Crit. i, 311): Qu. factor? Feed occurs thirteen and sixteen lines above. Your factor, i. e. your agent in buying the farm. [Dyce (ed. iii) notes that Walker thus queries, and adds, 'wrongly, I believe.' Walker must have overlooked the instances of the use of 'feeder' cited by Dyce.] NEIL: Perhaps the word ought to be Feodar or Fedary, male representative undertaking the suit and service required by the superior from those holding lands in feudal tenure under him. 106. BLACKWOOD'S MAGAZINE (April, 1833): How fortunate that the prettiest cottage in or about the Forest is on sale! No occasion for a conveyancer. There shall be no haggling about price, and it matters not whether or no there be any titledeeds. A simple business, as in Arcadia of old, is buying and selling in Arden. True that it is not term-day. But term-day is past, for mind ye not that it is midsummer? Iaq. More, more, I pre'thee more. Amy. It will make you melancholly Monfieur Iaques I can fucke melancholly out of a fong, Scene changes to a desart Part of the Forest. Theob. 3. Vnder] Ami. Under Cap. et seq. greene wood] greenwood F3. greenhood F1, Rowe i. 5. turne] F, tune Rowe ii+, Cap. 3 4 ΙΟ 13 Coll. ii, iii, Dyce iii. turn FF et cet. 5. turne] MALONE in support of the change to tune cites Two Gent. V, iv, 5: 'And to the nightingale's complaining note Tune my distresses,' &c. STEEVENS: The old copy may be right. To turn a tune or a note is still a current phrase among vulgar musicians. WHITER corroborates Steevens: 'To turn a tune in counties of York and Durham is the appropriate and familiar phrase for' [correct singing]. SINGER: That 'turn' is right appears from the following line in Hall's Satires, Bk. vi, s. i [p. 157, ed. Singer]: 'Whiles threadbare Martiall turns his merry note.' COLLIER (ed. ii): It is altered to tune in the (MS). It is misprinted turn in Hall's Satires. DYCE (Strictures, &c., p. 69): There is no reason to suspect a misprint in the line from Hall's Satire. [Dyce, however, changed his opinion when he printed his third edition; he there says that turns in this line from Hall] is manifestly an error for tunes; so again in The Two Gent. IV, ii, 25, the Second Folio makes Thurio say to the Musicians: "Let's turne," &c. To "turn a note means only to "change a note"; compare Locrine, 1595: "when he sees that needs he must be prest, Heele turne his note and sing another tune." WRIGHT, after quoting this last note of Dyce's, adds: Even granting this, there appears to be no absolute necessity for change in the present passage, for 'turn his merry note' may mean adapt or modulate his note to the sweet bird's song, following its changes. 7. Come] From the references in the Index to Abbott, it is to be inferred that this 'come' is considered by him as a subjunctive used optatively or imperatively. As a Weazel fuckes egges: More, I pre'thee more. Amy. My voice is ragged, I know I cannot please you. Iaq. I do not defire you to please me, I do defire you to fing: Come, more, another stanzo: Cal you'em ftanzo's? Iaq. Nay, I care not for their names, they owe mee nothing. Wil you fing? Amy. More at your request, then to please my selfe. Iaq. Well then, if euer I thanke any man, Ile thanke you but that they cal complement is like th'encounter of two dog-Apes. And when a man thankes me hartily, 15. ragged] rugged Rowe +, Cap. 17, 19. Prose, Pope et seq. 19. Come, more] Come, come Rowe +. 'em] them Mal. 15 20 25 15. ragged] MALONE: That is, broken and unequal. [For a dozen other instances in Shakespeare where 'ragged' is thus used, see Schmidt, s. v. 3.] 19. stanzo] In Sherwood's English and French Dictionarie, appended to Cotgrave, 1632, we find, 'A stanzo (staffe of verses) Stance. A stanzo (of eight verses) Octastique. On turning to Cotgrave, under Stance we find, among other meanings, 'also, a stanzo, or staffe of verses.' In the only other place where Shakespeare uses the word, Love's Lab. L. IV, ii, 99, it is printed, according to the Cam. Ed., stanze FQ2, stanza FF,F1, and stauze Q, (of course a misprint for stanze). Jaques was apparently a little doubtful as to the correctness of the term, which I think he used in the sense of the second definition given by Sherwood. If we divide 'Heere shall he see no enemie' into two verses, as every editor has divided it since Pope, the song will be an Octastique, which Cotgrave again defines, 'Octostique: A staffe, or Stanzo of eight verses.'-ED. 21. names] Used in a classical, legal sense. Caldecott finds the allusion to the Latin phrase, nomina facere, which we all know means to 'set down, or book the items of debt in the account-book,' as the definition reads in Andrews's Lexicon. But it seems to me that it is simpler to suppose that Jaques refers merely, as he says, to 'the names,' for which the Latin is plain nomina. In Cooper's Thesaurus, 1573, the Dictionary which Shakespeare probably used (we are told that Queen Elizabeth used it), the second definition of nomina is 'the names of debtes owen.' Here, it is possible, Shakespeare may have found the allusion which Jaques makes.—ED. 25. that] For the omission of the relative, see Abbott, § 244, or Shakespeare passim. 26. dog-Apes] DOUCE (i, 298): Bartholomæus, speaking of apes, says: "Some be called cenophe; and be lyke to an hounde in the face, and in the body lyke to an ape.'-Lib. xviii, c. 96. WRIGHT: Topsell (History of Beasts, p. 8) says: 'Cynocephales are a kind of Apes, whose heades are like Dogs, and their other parts like a mans.' me thinkes I haue giuen him a penie, and he renders me the beggerly thankes. Come fing; and you that wil not hold your tongues. Amy. Wel, Ile end the fong. Sirs, couer the while, the Duke wil drinke vnder this tree; he hath bin all this day to looke you. 27 30 Iaq. And I haue bin all this day to auoid him: He is too difputeable for my companie: I thinke of as many matters as he, but I giue 35 Heauen thankes, and make no boast of them. 28. beggerly] That is, beggar-like. The thanks are neither paltry nor mean; but the reverse.-ED. 30. couer] STAUNTON: That is, prepare the table; equivalent to our lay the cloth'; compare Mer. of Ven. III, v, 55. 31. drinke] CAPELL (p. 58): The moderns have dine instead of 'drink,' but bidding the attendants 'cover' was telling them the Duke intended to dine there; 'drink' tells them something more, that he meant to pass his afternoon there, under the shade of that tree. 32. looke you] DYCE (ed. iii): I may notice that this is equivalent to 'look for you.' Compare Merry Wives, IV, ii, 83: Mistress Page and I will look some linen for your head.' [For many other instances of this omission, see Abbott, $ 200.] 34. disputeable] MALONE: That is, disputatious. WALKER has a chapter (No. xxix, Crit. i, 183) on examples of adjectives in -able and -ible, both positive and negative ones, which are frequently used by old writers in an active sense. See also, Abbott, § 3. 38. Altogether heere] It is almost needless to remark that this is a stage direction; and the stage direction of a play-house copy. Some of the early editors, even Capell, omit it altogether here. See ROFFE, in Appendix, Music,' p. 434. 40. liue] TOLLET: To live i' th' sun,' is to labour and 'sweat in the eye of Phoebus,' or vitam agere sub dio; for by lying in the sun, how could they get the food they eat? CAPELL (p. 58): To lye i the sun is a phrase importing absolute idleness, the idleness of a motley (see post, II, vii, 17), but 'live i' the sun' imports only a living in freedom; a flying from courts and cities, the haunts of ambition,' to enjoy the free blessings of heaven in such a place as the singer himself was retir'd to; whose panegyrick upon this sort of life is converted into a satire by Jaques, in a verv excellent parody that follows a few lines after. CALDECOTT: Othello refers to his Seeking the food he eates, and pleas'd with what he gets: Come hither, come hither, come hither, 41 Iaq. Ile giue you a verse to this note, 45 That I made yesterday in despight of my Inuention. Amy. And Ile fing it. Amy. Thus it goes. If it do come to passe, that any man turne Asse: A ftubborne will to please, 50 52 52, 55. Ducdame, ducdame, ducdame ...Ducdame] Duc ad me, Duc ad me, Duc ad me... Duc ad me Han. Wh. Mal. 'unhoused, free condition.' WHITE (ed. i): To 'live i' the sun was to live a profitless life. WRIGHT: A life of open-air freedom, which, as opposed to the life of the ambitious man, is also one of retirement and neglect. Hamlet seems to have had this in his mind when he said (I, ii, 67): 'I am too much i' the sun'; and Beatrice in Much Ado, II, i, 331: Thus goes every one to the world but I, and I am sun-burnt,' that is, exposed and neglected, like the bride in Canticles, i, 6. See also Tro. & Cress. I, iii, 282. 46. Inuention] MOBERLY: As imagination would do nothing for me, I spited it by the following choice composition. 52. Ducdame] JOHNSON: Hanmer, very acutely and judiciously, reads duc ad me, that is, bring him to me. CAPELL (p. 58): The words 'Come hither' are Latiniz'd by the composer; but not strictly, for then his word had been Hucdame; and the Latin words crouded [sic] together into a strange single word of three syllables, purely to set his hearer a staring; whom he bambouzles still further, by telling him, "'tis a Greek invocation.' The humour is destroy'd, in great measure, by decompounding and setting them right, and giving us duc ad me separately. FARMER: If duc ad me were right, Amiens would not have asked its meaning, and been put off with a 'Greek invocation.' It is evidently a word coined for the nonce. We have here, as Butler says, 'One for sense, and one for rhyme. Indeed, we must have a double rhyme, or this stanza cannot well be sung to the same tune with the former. I read 'Ducdamè, Ducdame, Ducdamè, Here shall he see Gross fools as he, An' if he will come to Ami.' That is, to Amiens. Jaques did not mean to ridicule himself. STEEVENS: That Amiens, who is a courtier, should not understand Latin, or be persuaded it was Greek, is no great matter for wonder. In confirmation of the old reading, however, Dr Farmer observes to me, that, being at a house not far from Cambridge, when news was brought that the hen-roost was robbed, a facetious old squire who was present immediately sung the following stanza, which has an odd coincidence |