And ere we have thy youthful wages spent,
We'll light upon some settled low content.

ADAM. Mafter, go on; and I will follow thee, To the laft gafp, with truth and loyalty.

From feventeen years' till now almoft fourfcore
Here lived I, but now live here no more.
At feventeen years many their fortunes feek;
But at fourfcore, it is too late a week:
Yet fortune cannot recompence me better,
Than to die well, and not my master's debtor.
[Exeunt.

SCENE IV.

The Forest of Arden.

Enter ROSALIND in boy's clothes, CELIA dreft like a Shepherdefs, and TOUCHSTONE.

Ros. O Jupiter! how weary are my spirits!

From feventeen years-] The old copy reads-feventy. The correction, which is fully fupported by the context, was made by Mr. Rowe. MALONE.

80 Jupiter! how weary are my fpirits!] The old copy readsbow merry, &c. STEEVENS.

And yet, within the space of one intervening line, fhe fays, the could find in her heart to difgrace her man's apparel, and cry like a woman. Sure, this is but a very bad fymptom of the brifknefs of Spirits: rather a direct proof of the contrary difpofition. Mr. Warburton and I, concurred in conjecturing it should be, as I have reformed in the text:-how weary are my Spirits! And the Clown's reply makes this reading certain, THEOBALD.

She invokes Jupiter, because he was fuppofed to be always in good fpirits. A Jovial man was a common phrafe in our author's time. One of Randolph's plays is called ARISTIPPUS, or the Jovial Philofopher; and a comedy of Broome's, The Jovial Crew, er, the Merry Beggars.

In the original copy of Othello, 4to. 1622, nearly the fame mistake has happened; for there we find

"Let us be merry, let us hide our joys,"

inftead of-Let us be wary. MALONE.

TOUCH. I care not for my fpirits, if my legs were

not weary.

Ros. I could find in my heart to difgrace my man's apparel, and to cry like a woman: but I must comfort the weaker veffel, as doublet and hose ought to fhow itself courageous to petticoat: therefore, courage, good Aliena.

CEL. I pray you, bear with me; I cannot go no further.

TOUCH. For my part, I had rather bear with you, than bear you:" yet I fhould bear no crofs, if I did bear you; for, I think, you have no money in your purse.

Ros. Well, this is the foreft of Arden.

TOUCH. Ay, now am I in Arden: the more fool I ; when I was at home, I was in a better place; but travellers must be content.

Ros. Ay, be fo, good Touchstone:-Look you, who comes here; a young man, and an old, in folemn talk.

Enter CORIN and SILVIUS.

COR. That is the way to make her scorn you ftill. SIL. O Corin, that thou knew 'ft how I do love her! COR. I partly guefs; for I have lov'd ere now. SIL. No, Corin, being old, thou canst not guess; Though in thy youth thou waft as true a lover As ever figh'd upon a midnight pillow:

9 I had rather bear with you, than bear you :] This jingle is repeated in K. Richard III :

"You mean to bear me, not to bear with me."

STEEVENS.

yet I should bear no crofs,] A cross was a piece of money ftamped with a cras. On this our author is perpetually quibbling.

STEEVENS.

But if thy love were ever like to mine,
(As fure I think did never man love so,)
How many actions moft ridiculous

Haft thou been drawn to by thy fantafy?

COR. Into a thousand that I have forgotten. SIL. O, thou didst then ne'er love fo heartily: If thou remember'ft not the flightest folly' That ever love did make thee run into, Thou haft not lov'd:

Or if thou haft not fat as I do now,

Wearying thy hearer in thy mistress' praise,
Thou haft not lov'd:

Or if thou haft not broke from company,
Abruptly, as my paffion now makes me,
Thou haft not lov'd:-O Phebe, Phebe, Phebe!
[Exit SILVIUS.

Ros. Alas, poor fhepherd! fearching of thy
wound,'

I have by hard adventure found mine own.

TOUCH. And I mine: I remember, when I was in love, I broke my fword upon a ftone, and bid him

3 If thou remember'ft not the flighteft folly-] I am inclined to believe that from this paffage Suckling took the hint of his fong: "Honeft lover, whofoever,

"If in all thy love there ever

"Was one wav'ring thought, if thy flame

"Were not ftill even, ftill the fame.

"Know this,

"Thou lov'ft amifs,

"And to love true,

"Thou must begin again, and love anew," &c. JOHNSON. 4 Wearying thy bearer-] The old copy has-wearing. Corrected by the editor of the fecond folio. I am not fure that the emendation is neceffary, though it has been adopted by all the editors. MALONE.

5 of thy wound,] The old copy has-they would. The latter word was corrected by the editor of the fecond folio, the other by Mr. Rowe. MALONE.

take that for coming anight' to Jane Smile: and I remember the kissing of her batlet," and the cow's dugs that her pretty chop'd hands had milk'd: and I remember the wooing of a peafcod instead of her; from whom I took two cods, and, giving her them again, faid with weeping tears, Wear thefe for my

anight-] Thus the old copy. Anight, is in the night. The word is used by Chaucer in The Legende of Good Women. Our modern editors read, o'nights, or o'night. STEEVENS.

batlet,] The inftrument with which washers beat their coarfe cloaths. JOHNSON.

Old copy-batler. Corrected in the fecond folio. MALONE. 7 two cods,] For cods it would be more like fenfe to read-peas, which having the shape of pearls, resembled the common prefents of lovers. JOHNSON.

In a schedule of jewels in the 15th Vol. of Rymer's Fadera, we find," Item, two peafcoddes of gold with 17 pearles." FARMER. Peafcods was the ancient term for peas as they are brought to market. So, in Greene's Groundwork of Cony-catching, 1592: went twice in the week to London, either with fruit or pefcods," &c. Again, in The Shepherd's Slumber, a song published in England's Helicon, 1600:

"In pefcod time when hound to horne
"Gives ear till buck be kill'd," &c.

Again, in The Honeft Man's Fortune, by Beaumont and Fletcher: "Shall feed on delicates, the first peafcods, ftrawberries."

STEEVENS.

In the following paffage, however, Touchstone's prefent certainly fignifies not the pea but the pod, and fo, I believe, the word is ufed here. "He [Richard II.] also used a peafcod branch with the cods open, but the peas out, as it is upon his robe in his monument at Westminster." Camden's Remains 1614. Here we fee the cods and not the peas were worn. Why Shakspeare used the former word rather than pods, which appears to have had the fame meaning, is obvious. MALONE.

The peafcod certainly means the whole of the pea as it hangs upon the ftalk. It was formerly used as an ornament in drefs, and was reprefented with the shell open exhibiting the peas. The paffage cited from Rymer by Dr. Farmer, fhows that the peas were fometimes made of pearls, and rather overturns Dr. Johnfon's conjecture, who probably imagined that Touchstone took the cods from the peafcods, and not from his miftrefs. DoucE.

8 weeping tears,] A ridiculous expreffion from a fonnet in

fake. We, that are true lovers, run into strange capers; but as all is mortal in nature, fo is all nature in love mortal in folly."

Ros. Thou fpeak'st wiser, than thou art 'ware of, TOUCH. Nay, I fhall ne'er be 'ware of mine own wit, till I break my fhins against it.

Ros. Jove! Jove! this fhepherd's passion
Is much upon my fashion.

TOUCH. And mine; but it grows fomething ftale
with me.

CEL. I pray you, one of you question yond man, If he for gold will give us any food;

COR. And to you, gentle fir, and to you all.

Lodge's Rofalynd, the novel on which this comedy is founded. It likewife occurs in the old anonymous play of The Victories of K. Henry V. in Peele's Jefts, &c. STEEVENS.

The fame expreffion occurs alfo in Lodge's Doraftus and Fawnia, on which The Winter's Tale is founded. MALONE.

9 fo is all nature in love mortal in folly.] This expreffion I do not well understand. In the middle counties, mortal, from mort, a great quantity, is ufed as a particle of amplification; as mortal tall, mortal little. Of this fenfe I believe Shakspeare takes advantage to produce one of his darling equivocations. Thus the meaning will be, fo is all nature in love abounding in folly.

JOHNSON. to you, friend.] The old copy reads-to your friend. Corrected by the editor of the fecond folio. MALONE.