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This carol they began that hour,
With a hey, and a ho, and a hey nonino,
In spring time, &c.
And therefore take the present time,
With a hey, and a bo, and a bey nonino;
In Spring time, &c.
Touch. Truly, young gentlemen, though there was no great matter in the ditty, yet the note was very untuneable.
i Page. You are deceiv’d, fir; we kept time, we lost not our time.
Toucji. By my troth, yes; I count it but time lost to hear such a foolish song. God be with you; and God mend your voices !--Come, Audrey. [ Exeunt,
4 Truly, young gentlemen, though there was no great matter in the ditty, yet the note was very untuneable.] Though it is thus in all the printed copies, it is evident from the sequel of the dia. logue, that the poet wrote as I have reform’d in iny text, untimeable.-Time and tune, are frequentiy misprinted for one another in the old editions of Shakspeare. THEOBALD..
This emendation is received, I think very undefervedly, by Dr. Warburton. JOHNSON.
The reply of the Page proves to me, beyond any possibility of doubt, that we ought to read untimeable, instead of untuneable, notwithstanding Johnson rejects the amendment as unnecessary. A mistake of a similar nature occurs in Twelfth Night. M. Mason.
The sense of the old reading seems to be--Though the words of the song were trifling, the music was not (as might have been expected good enough to compenjate their defect. STEEVENS.
Another part of the Forest. Enter Duke senior, Amiens, Jaques, ORLANDO,
Oliver, and Celia.
Duke S. Dost thou believe, Orlando, that the boy Can do all this that he hath promised? Orl. I sometimes do believe, and sometimes do
not; As those that fear they hope, and know they fear.
s As those that fear they hope, and know they fear.] This ftrange nonsense should be read thus :
As those that fear their hap, and know their fear. i. e. As those that fear the issue of a thing when they know their fear to be well grounded. WARBURTON.
The depravation of this line is evident, but I do not think the learned commentator's emendation very happy. I read thus :
As those that fear with hope, and hope with fear.
JOHNSON. The author of The Revisal would read :
As those that fear their hope, and know their fear.
Perhaps we might read :
As those that feign they hope, and know they fear.
"MUSGRAVE. I have little doubt but it should run thus :
As those who fearing hope, and hoping fear. This strongly expresses the state of mind which Orlando was in at that time; and if the words fearing and hoping were contracted in the original copy, and written thus :--fears-hops (a practice not unusual at this day) the g might easily have been miftaken for y, a common abbreviation of they. M. MASON.
Enter Rosalind, Silvius, and Puebe. Ros. Patience once more, whiles our compact is
urg'd: You say, if I bring in your Rosalind, [To the Duke. You will bestow her on Orlando here? Duke S. That would I, had I kingdoms to give
with her. Ros. And you say, you will have her, when I bring her ?
[To ORLANDO. Orl. That would I, were I of all kingdoms king. Ros. You say, you'll marry me, if I be willing?
[To Phebe. Phe. That will I, should I die the hour after.
Ros. But, if you do refuse to marry me,
Phe. So is the bargain.
[To SILVIUS, Sil. Though to have her and death were both
one thing. Ros. I have promis'd to make all this matter even, Keep you your word,Oduke,togive your daughter; You yours, Orlando, to receive his daughter:Keep your word, Phebe, that you'll marry me;
I believe this line requires no other alteration than the addition of a semi-colon:
As those that fear; they hope, and know they fear. Henley, The meaning, I think, is, As those who fear,they, even those very persons, entertain hopes, that their fears will not be realized ; and yet at the same time they well know that there is reason for their fears. MALONE.
Keep your word, Phebe,] The old copy reads-Keep you your word; the compositor's eye having probably glanced on the line next but one above. Corrected by Mr. Pope. MALONS.
Or else, refusing me, to wed this shepherd :-
[Exeunt Rosalind and Celia. Duke S. I do remember in this shepherd-boy Some lively touches of my daughter's favour.
Orl. My lord, the first time that I ever saw him, Methought he was a brother to your daughter: But, my good lord, this boy is forest-born; And hath been tutor'd in the rudiments Of many desperate studies by his uncle, Whom he reports to be a great magician, Obscured in the circle of this forest.
Enter Touchstone and AUDREY. JAQ. There is, sure, another flood toward, and these couples are coming to the ark! Here comes a pair of very strange beasts, which in all tongues are call'd fools.
Touch. Salutation and greeting to you all!
JAQ. Good my lord, bid him welcome: This is the motley-minded gentleman, that I have so often met in the forest: he hath been a courtier, he swears.
s To make these doubts all even.] Thus, in Measure for Measure:
yet death we fear, “ That makes these odds all even.” Steevens. O Here comes a pair of very strange beasts, &c.] What strange beasts? and yet such as have a name in all languages ? Noah's ark is here alluded to; into which the clean beaits entered by sevens, and the unclean by two, male and female. It is plain then that Shakspeare wrote, here come a pair of unclean beasts, which is highly humorous. WARBURTON.
Strange beasts are only what we call odd animals. There is no need of any alteration. Johnson.
Touch. If any man doubt that, let him put me to my purgation. I have trod a measure; * I have flatter'd a lady; I have been politick with my friend, smooth with mine enemy; I have undone three tailors; I have had four quarrels, and like to have fought one.
FAQ. And how was that ta'en up?
Touch. ’Faith, we met, and found the quarrel was upon the seventh cause."
JAQ. How seventh cause?-Good my lord, like this fellow.
Duke S. I like him very well.
Touch. God'ild you, sir;6 I desire you of the like.? I press in here, sir, amongst the rest of the
4 — trod a measure;] So, in Love's Labour's Loft, A& V.fc. ii:
“ To tread a measure with you on this grass.' See note on this passage. Reed.
Touchstone to prove that he has been a courtier, particularly mentions a measure, because it was a very stately folemn dance. So, in Much ado about Nothing : “ - the wedding mannerly modest, as a measure full of state and ancientry." Malone.
s and found the quarrel was upon the seventh cause.) So all the copies; but it is apparent from the sequel that we must read the quarrel was not upon the seventh cause. JOHNSON.
By the seventh cause, Touchstone, I apprehend, means the lie seven times removed; i. e. the retort courteous, which is removed seven times (counting backwards) from the lie direct, the last and most aggravated species of lie. See the subsequent note on the words “ – a lie seven times removed.” MALONE.
6 God'ild you, fir;] i. e. God yield you, reward you. So, in the Collection of Chester Mysteries Mercer's play, p. 74, b. MS. Harl. Brit. Muf. 2013 :
“ The high father of heaven, I pray,
“ To yelde you your good deed to day.” See note on Macbeth, Act I. sc. vi. STEEVENS.
7- I defire you of the like. We should read I defire of you the like. On the Duke's saying, I like him very well, he replies, I desire you will give me cause, that I may like you too.
WARBURTON. Vol. VI.