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And all the embossed sores, and headed evils,
JAQ. Why, who cries out on pride,
wherein My tongue hath wrong'd him : if it do him right, Then he hath wrong'd himself; if he be free, Why then, my taxing like a wild goose flies, Unclaim'd of any man.-But who comes * here?
Enter ORLANDO, with his sword drawn.
Why, I have eat none yet.
* First folio, come.
6 Till that the very very -] The old copy reads--weary very. Corrected by Mr. Pope. Malone.
7 his BRAVERY —] i. e. his fine clothes. So, in The Taming of a Shrew : “With scarfs and fans, and double change of bravery."
Steevens. 8 There then; How, what then ? &c.] I believe we should read -Where then ? So, in Othello : “ What then? How then ? Where's satisfaction ?"
Malone. The old copy reads, very redundantly
“ There then? How then ? What then,” &c. STEEVENS.
Orl. Nor shalt not, till necessity be serv'd.
JAQ. An you will not be answered with reason,
ness shall force, More than your force move us to gentleness.
Orl. I almost die for food, and let me have it. DUKE S. Sit down and feed, and welcome to our
table. Orl. Speak you so gently ? Pardon me, I pray
the thorny point
Of smooth civility:] We might read torn with more elegance, but elegance alone will not justify alteration. Johnson.
INLAND bred,] Inland here, and elsewhere in this play, is the opposite to outland, or upland. Orlando means to say, that he had not been bred among clowns. Holt White.
2 And know some NURTURE :) Nurture is education, breeding, manners. So, in Greene's Never Too Late, 1616 :
“ He shew'd himself as full of nurture as of nature." Again, as Mr. Holt White observes to me, Barret says in his Alvearie, 1580: “ It is a point of nurture, or good manners, to salute them that you meete. Urbanitatis est salutare obvios."
STEEVENS. St. Paul advises the Ephesians, in his Epistle, ch. vi. 4, to bring their children up “ in the nurture and admonition of the Lord."
I thought, that all things had been savage here;
DUKE S. True is it that we have seen better days;
Orl. Then, but forbear your food a little while, Whiles, like a doe, I go to find my fawn, And give it food”. There is an old poor man, Who after me hath many a weary step Limp'd in pure love ; till he be first suffic'd,Oppress’d with two weak evils, age and hunger,I will not touch a bit. Duke S.
Go find him out, And we will nothing waste till you return.
3 — desert inaccessible,] This expression I find in The Adventures of Simonides, by Barn. Riche, 1580: “ — and onely acquainted himselfe with the solitarinesse of this unaccessible desert.” HENDERSON.
4 And take upon COMMAND what help we have,] Upon command, is at your own command. Steevens. 5 W'hiles, like a doe, I go to find my Fawn, And give it food.] So, in Venus and Adonis : “ Like a milch doe, whose swelling dugs do ake,
Hasting to feed her fawn.” Malone.
Orl. I thank ye; and be bless'd for your good comfort!
[Ěrit. DUKE S. Thou seest, we are not all alone un
All the world's a stage?, And all the men and women merely players : They have their exits and their entrances;
6 Wherein we play in.] Thus the old copy. Mr. Pope more correctly reads
“ Wherein we play." I believe, with Mr. Pope, that we should only read
“ Wherein we play.” and add a word at the beginning of the next speech, to complete the measure; viz.
Why, all the world's a stage. Thus, in Hamlet : “ Hor. So Rosencrantz and Guildenstern go to't.
“ Ham. Why, man, they did make love to their employment." Again, in Measure for Measure :
Why, all the souls that were, were forfeit once.” Again, ibid. :
Why, every fault's condemn'd, ere it be done." In twenty other instances we find the same adverb introductorily used. Steevens.
For a defence of the phraseology objected to by Mr. Pope and Mr. Steevens, see Romeo and Juliet, p. 70, n. 7. MALONE.
9 All the world's a stage, &c.] This observation occurs in one of the fragments of Petronius : “ Non duco contentionis funem, dum constet inter nos, quod fere totus mundus exerceat histrioniam." STEEVENS.
This observation had been made in an English drama before the time of Shakspeare. See Damon and Pythias, 1582:
“ Pythagoras said, that this world was like a stage,
“ Whereon many play their parts.” In The Legend of Orpheus and Eurydice, 1597, we find these lines :
“ Unhappy man
While as the acts are measur'd by his age.” Malone.
And one man in his time plays many parts,
8 His acts being seven ages.) On account of the length of the notes on this passage, I have thrown them to the end of the play.
Boswell. 9 And then,] And, which is wanting in the old copy, was supplied, for the sake of metre, by Mr. Pope. Steevens.
Sighing like furnace,] So, in Cymbeline : “— he furnaceth the thick sighs from him —" Malone.
a soldier ; Full of strange oaths, and BEARDED like the pard,] So, in Cythia's Revels, by Ben Jonson :
“ Your soldiers face—the grace of this face consisteth much in a beard.” Steevens.
Beards of different cut were appropriated in our author's time to different characters and professions.
The soldier had one fashion, the judge another, the bishop different from both, &c. See a note on King Henry V. Act III. Sc. VI. : “ And what a beard of the general's cut,” &c. Malone.
3 – sudden and quick -] Lest it should be supposed that these epithets are synonymous, it is necessary to be observed that one of the ancient senses of sudden, is violent. Thus, in Macbeth :
I grant him sudden, “ Malicious,” &c. Steevens. 4 Full of wise saws and MODERN instances,] It is remarkable that Shakspeare uses modern in the double sense that the Greeks used xenos, both for recens and absurdus. WARBURTON.