[To Orl.] You to a love, that your true faith doth merit: 201 [To Oli.]. You to your land, and love, and great allies: [To Sil.] You to a long and well-deserved bed: [To Touch.] And you to wrangling; for thy loving Voyage Is but for two months victuall'd. So, to your pleasures: I am for other than for dancing measures. Jaq. To see no pastime I: what you would have [Exit. Duke S. Proceed, proceed: we will begin these rites, As we do trust they'll end, in true delights. 210 [A dance. 208. "To see no pastime I"; the reader feels some regret to take his leave of Jaques in this manner; and no less concern at not meeting with the faithful old Adam at the close. It is the more remarkable that Shakespeare should have forgotten him, because Lodge, in his novel, makes him captain of the king's guard.-H. N. H. EPILOGUE Ros. It is not the fashion to see the lady the epilogue; but it is no more unhandsome than to see the lord the prologue. If it be true that good wine needs no bush, 'tis true that a good play needs no epilogue: yet to good wine they do use good bushes; and good plays prove the better by the help of good epilogues. What a case am I in then, that am neither a good epilogue, nor cannot insinuate with you in the behalf of a good 10 play! I am not furnished like a beggar, therefore to beg will not become me: my way is to conjure you; and I'll begin with the women. I charge you, O women, for the love you bear to men, to like as much of this play as please you: and I charge you, O men, for the love you bear to women,as I perceive by your simpering, none of you hates them, that between you and the women the play may please. If I were a 20 woman I would kiss as many of you as had beards that pleased me, complexions that liked me and breaths that I defied not: and, 20. "If I were a woman"; the part of Rosalind was of course originally taken by a boy-actor: women's parts were not taken by women till after the Restoration.-I. G. I am sure, as many as have good beards or good faces or sweet breaths will, for my kind offer, when I make curtsy, bid me farewell. [Exeunt ALL POINTS at all points; I. iii. 127. AMAZE, confuse; I. ii. 121. ANATOMIZE, expose; I. i. 174. ANY, any one; I. ii. 157. ARGUMENT, reason; I. ii. 308. ARM'S END, arm's length; II. vi. 11. As, to wit, namely; II. i. 6. ASSAY'D, attempted; I. iii. 140. ATALANTA'S BETTER PART; Variously interpreted as referring to Atalanta's "swiftness," "beauty," "spiritual part"; probably the reference is to her beautiful form; III. ii. 160. ATOMIES, motes in a sunbeam; III. ii. 254. ATONE TOGETHER, are at one; V. iv. 122. BANDY, contend; V. i. 63. BANQUET, dessert, including wine; II. v. 65. BAR, forbid; V. iv. 137; "bars me," i. e. excludes me from; I. i. 22. BATLET little bat, used by laundresses; II. iv. 52. BEHOLDING, beholden; IV. i. 66. BESTOWS HIMSELF, carries himself; IV. iii. 89. BETTER, greater; III. i. 3. sion; V. iv. 59. Вов, rap, slap; II. vii. 55. BONNET, hat; III. ii. 411. BOTTOM, "neighbor b.," the neighboring dell; IV. iii. 81. BOUNDS, boundaries, range of pasture; II. iv. 90. Bow, yoke; III. iii. 84. BRAVERY, finery; II. vii. 80. BREATHED; "well breathed," in full display of my strength; I. ii. 242. BREATHER, living being; III. ii. 306. BREED, train up, educate; I. i. 4. BRIEF, in brief; IV. iii. 157. BROKE, broken; II. iv. 41. BROKEN MUSIC; "Some instruments such as viols, violins, etc., were formerly made in sets of four, which, when played together, formed a 'consort.' If one or more of the instruments of one set were substituted for the corresponding ones of another set, the CALLING, appellation; I. ii. 258. CAPABLE, sensible, receivable; III. v. 23. CAPON LINED, alluding to the customary gifts expected by Elizabethan magistrates, "capon justices," as they were occasionally called; II. vii. 154. CAPRICIOUS, used with a play up on its original sense; Ital. capriccioso, fantastical, goatish; capra, a goat; III. iii. 8. CARLOT, little churl, rustic; III. v. 108. CAST, cast off; III. iv. 15. CENSURE, criticism; IV. i. 7. CHANGE, reversal of fortune; I. iii. 112. CHANTICLEER, the cock; II. vii. 30. CHARACTER, write; III. ii. 6. CHEERLY, cheerily; II. vi. 15. CHOPт, chapped; II. iv. 53. CHRONICLERS (Folio 1 "chronoclers") perhaps used for the "jurymen," but the spelling of Folio 1 suggests "coroners" for "chroniclers"; IV. i. 113. CHURLISH, miserly; II. iv. 87. CICATRICE, a mere mark (not the scar of a wound); III. iv. 23. CITY-WOMAN, citizen's wife; II. vii. 75. CIVIL; "c. sayings," sober, grave maxims, perhaps "polite"; III. ii. 141. CIVILITY, politeness; II. vii. 96. CLAP INTO 'T, to begin a song briskly; V. iii. 11. CLUBS, the weapon used by the London prentices, for the preservation of the public peace, or for the purposes of riot; V. ii. 47. CoDs, strictly the husks containing the peas; perhaps here used for "peas"; II. iv. 55. COLOR, nature, kind; I. ii. 113–14. COMBINE, bind; V. iv. 162. COME OFF, get off; I. ii. 34. COMFORT, take comfort; II. vi. 5. COMMANDMENT, command; II. vii. 109. COMPACT, made up, composed; II. vii. 5. COMPLEXION; "good my c.," per haps little more than the similar exclamation "goodness me!" or "good heart!" possibly, however, Rosalind appeals to her complexion not to betray her; III. ii. 209. CONCEIT, imagination; II. vi. 8; mental capacity; V. ii. 62. CONDITION, Mood; I. ii. 293. CONDUCT, leadership; V. iv. 169. CONNED, learnt by heart; III. ii. 298. CONSTANT, accustomed, ordinary; III. v. 123. CONTENTS; "if truth holds true c." i. e. "if there be truth in truth"; V. iv. 142. CONTRIVER, plotter; I. i. 161. CONVERSED, associated; V. ii. 70. CONVERTITES, converts; V. iv. 197. CONY, rabbit; III. ii. 368. |