The Complete Works of William Shakespeare - Israel Gollancz William Shakespeare [2408]
AS YOU LIKE IT
I.i.3 (229,2) [As I remember, Adam, it was upon this fashion bequeathed me. By will, but a poor thousand crowns] There is, in my opinion, nothing but a point misplaced, and an omission of a word which every hearer can supply, and which therefore an abrupt and eager dialogue naturally excludes.
I read thus: As I remember, Adam, it was on this fashion bequeathed me. By will but a poor thousand crowns; and, as thou sayest, charged my brother on his blessing to breed me well. What is there in this difficult or obscure? The nominative my father is certainly left out, but so left out that the auditor inserts it, in spite of himself.
I.i.9 (230,3) [stays me here at home, unkept] [W: Stys] Sties is better than stays, and more likely to be Shakespeare's.
I.i.19 (230,4) [his countenance seems to take from me] [W: discountenance] There is no need of change, a countenance is either good or bad.
I.i.33 (231,5) [be better employ'd, and be nought a while] Warburton explained ["be nought a while" as "a mischief on you"] If be nought a while has the signification here given it, the reading may certainly stand; but till I learned its meaning from this note, I read,
Be better employed, and be naught a while.
In the same sense as we say, it is better to do mischief, than to do nothing.
I.i.59 (233,7) [I am no villain] The word villain is used by the elder brother, in its present meaning, for a worthless, wicked, or bloody man; by Orlando in its original signification, for a fellow of base extraction.
I.ii.34 (237,9) [mock the good housewife Fortune from her wheel] The wheel of Fortune is not the wheel of a housewife. Shakespeare has confounded Fortune, whose wheel only figures uncertainty and vicissitude, with the Destiny that spins the thread of life, though indeed not with a wheel.
I.ii.87 (239,1)
[Clo. One, that old Frederick your father loves. Cel. My father's love is enough to honour him]
[T. invoking the Dramatis Personae: Celia] Mr. Theobald seems not to know that the Dramatis Personae were first enumerated by Rowe.
I.ii.95 (239,2) [since the little wit that fools have, was silenc'd] Shakespeare probably alludes to the use of fools or jesters, who for some ages had been allowed in all courts an unbridled liberty of censure and mockery, and about this time began to be less tolerated.
I.ii.112 (240,3) [laid on with a trowel] I suppose the meaning is, that there is too heavy a mass of big words laid upon a slight subject.
I.ii.115 (240,4) [You amaze me, ladies] To amaze, here, is not to astonish or strike with wonder, but to perplex; to confuse; as, to put out of the intended narrative.
I.ii.131 (241,5) [With bills on their necks: Be it known unto all men by these presents] This conjecture is ingenious. Where meaning is so very thin, as in this vein of jocularity, it is hard to catch, and therefore I know not well what to determine; but I cannot see why Rosalind should suppose, that the competitors in a wrestling match carried bills on their shoulders, and I believe the whole conceit is in the poor resemblance of presence and presents.
I.ii.149 (241,6) [is there any else longs to see this broken musick in his sides?] [W: set] If any change were necessary, I should write, feel this broken musick, for see. But see is the colloquial term for perception or experiment. So we say every day, see if the water be hot; I will see which is the best time; she has tried, and sees that she cannot lift it. In this sense see may be here used. The sufferer can, with no propriety, be said to set the musick; neither is the allusion to the act of tuning an instrument, or pricking a tune, one of which must be meant by setting musick. Rosalind hints at a whimsical similitude between the series of ribs gradually shortening, and some musical instruments, and therefore calls broken ribs, broken musick.
I.ii.185 (243,8) [If you saw yourself with your eyes, or knew yourself