And sat at good men's feasts and wiped our eyes Duke S. Go find him out, And we will nothing waste till you return. Orl. I thank ye; and be blest for your good comfort! Jaq. Presents more woeful pageants than the scene All the world's a stage, 125 130 [Exit. 135 140 124. command] demand Johnson; commend Collier MS. 129. a) omitted F 4. 131. Oppress'd hunger] To follow line 129, Anon. conj. ap. Cam bridge edd. 134. Exit] Rowe; omitted Ff. 138. Wherein we play in] Wherein we play Rowe; Which we do play in Capell conj. Wherein... Jaq. All] Wherein we play. Jaq. Why, all Steevens conj.; Wherein we play. Jaq. Ay, all Anon. conj. ap. Cambridge edd. 140. exits] in italics Ff. 142. At first] As first Capell conj.; Act first or First Anon. conj. ap. Cambridge edd. 124. command] not, as Collier suggests, "commend " command " upon means" in answer to your command, at your pleasure." Wright quotes Taming of the Shrew, IV. iii. 5, where "upon entreaty" is equivalent to "in answer to entreaty." 131. weak evils] proleptically, evils causing weakness. See Abbott, 4. 138. All the world's a stage] Steevens quotes Petronius, Frag. X.: "Non duco contentionis funem, dum constet inter nos, quod fere totus mundus exerceat histrioniam"; the motto of the Globe Theatre being traditionally "Totus mundus agit histrionem." Furness cites quotations showing the ervasiveness of the idea in Eliza bethan literature, which it is hardly necessary to reproduce. 142. His acts being seven ages] Malone quotes from The Treasury of Ancient and Modern Times (1613) the division of a man's life by Proclus into seven stages, Infancy, Childhood, Adolescence, Young manhood, Mature manhood, Old manhood, and Decrepit age. For the division by Hippocrates, compare Browne, Pseudodoxia, IV. xii. The point is not particularly material, and a reader may take his choice among a rich variety of possible and impossible sources gathered in Archaologia (xxxv. 167) and Gentleman's Magazine, May, 1853. Mewling and puking in his nurse's arms. 145 150 Even in the cannon's mouth. And then the justice, With eyes severe and beard of formal cut, 155 And so he plays his part. The sixth age shifts His youthful hose, well saved, a world too wide 160 144. Then] And then Rowe ii and edd.; Then there's Anon. conj. ap. Cambridge edd. 150. sudden] with comma Ff; without comma Halliwell; with semicolon Hunter conj. 151. reputation] Reputation Ff; with quotation marks Hunter conj. 160. shank] shanks Hanmer. 147. like furnace] Compare Cymbeline, 1. vi. 66: "He furnaces The thick sighs from him." 149. strange oaths] For some of them, see Bobadil's examples in Jonson's Every Man in His Humour, passim. 150. sudden] Hunter suggests a semicolon after this word, meaning hasty, as in Macbeth, iv. iii. 59: "I grant him sudden." Thus sudden is regarded as absolute, not referring to " quarrel.' 154. formal cut] Furness quotes Stubbes, Anatomie of Abuses (ii. 50, New Sh. Soc.): "The barbers have one manner of cut called the French cut, another the Spanish cut, another the Italian, one the newe cut, another the olde, one of the bravado fashion, another of the meane fashion. One a gentleman's cut, another the common cut, one cut of the court, another of the country, with infinite the like vanities," and Harrison, Description of England, in Holinshed, ed. 1587, p. 172, to much the same effect. 155. saws] Compare Hamlet, I. v. 100: "All saws of books, all forms, all pressures past," and Twelfth Night, 155. modern] Compare post, IV. i. 6, and Antony and Cleopatra, v. ii. 167. Its meaning is trite, commonplace, though the present-day meaning is also found, for which Mr. Case quotes Jack Drum's Entertainment (1601), iv. 37 (in Simpson's School of Shakespeare, ii. 183): "Brother, how like you our modern wits? How like you our new poet Mellidus?" 157. pantaloon] A stock character of Italian comedy, which seems to have been known well to the Elizabethans. Capell quotes from The Travels of Three English Brothers, 1607, a dialogue between Harlequin [Harlaken] and Kemp_the actor (see the Plays of John Day, ed. Bullen, Ist v., p. 57): Harl. Marry, sir, first we will have play. Torriano, Italian Dictionary (1659), gives "Pantalone, a Pantalone, a covetous and yet amorous old dotard, properly applyed in Comedies unto a Venetian (Wright). Turning again toward childish treble, pipes And whistles in his sound. That ends this strange eventful history, Last scene of all, 165 Is second childishness and mere oblivion, Sans teeth, sans eyes, sans taste, sans everything. Re-enter ORLANDO, with ADAM. Duke S. Welcome. Set down your venerable burthen, And let him feed. Orl. I thank you most for him. Adam. So had you need: I scarce can speak to thank you for myself. Duke S. Welcome; fall to: I will not trouble you As yet, to question you about your fortunes. Give us some music; and, good cousin, sing. Ami. Song. Blow, blow, thou winter wind, Thou art not so unkind As man's ingratitude; Thy tooth is not so keen, Because thou art not seen, Although thy breath be rude. Heigh-ho! sing, heigh-ho! unto the green holly: Most friendship is feigning, most loving mere folly : Then, heigh-ho, the holly! This life is most jolly. 170 175 180 185 161. treble, pipes] Theobald; trebble pipes Ff. 166, 167. Welcome ... .feed] As Rowe; Prose in Ff. 173. Ami.] Amiens sings Johnson; omitted Ff. 174-177. Thou .. seen] As Pope; two lines Ff. 177. Because seen,] Thou causest not that teen Hanmer; Because the heart's not seen Farmer conj.; 183, 186, 187. Though . . . sharp] ... whose unkindness is therefore not exaggerated by insult (Johnson). Warburton reads “sheen,” unhappily. 186. warp] wrinkle the surface, by frost; the idea being much the same as post, III. iii. 79, that of contortion. Wright's note is valuable : In the A.S. weorpan, or wyrpan from which " warp" is derived, there are two ideas, of throwing and turning. . . The prominent idea of the English 'warp' is that of turning and changing, from which that of shrinking or contracting as wood does Thy sting is not so sharp Heigh-ho! sing, etc. Duke S. If that thou were the good Sir Rowland's son, 190 That loved your father: the residue of your fortune, 195 188. remember'd] rememb'ring Hanmer. 197. master] masters F 1. = is a derivative." 66 188. remember'd not] Hanmer's emendation is unnecessary. Surely the [Exeunt. 190, 191. were] are Dyce conj. ACT III SCENE I-A room in the palace. Enter DUKE FREDERICK, Lords, and OLIVER. Duke F. Not see him since? Sir, sir, that cannot be: I should not seek an absent argument Of my revenge, thou present. But look to it: Thy lands and all things that thou dost call thine Oli. O that your Highness knew my heart in this! I never loved my brother in my life. 5 IO Duke F. More villain thou. Well, push him out of doors; 15 And let my officers of such a nature Make an extent upon his house and lands: Do this expediently and turn him going. ACT III. [Exeunt. Oliver] As Capell, subs.; Actus Tertius, Scena Prima F 1. I. see] seen Collier MS. 3. seek] seeke F 1; see Ff 2-4. 1. see] The emendation "seen" is possible, though this continuation of a conversation depends naturally for its grammar upon what has preceded. 2. better part] Compare ante, 1. iii. 112, "all points," and generally, for the omission of the preposition, Abbott, 202. 3. argument] reason for, as in 1. ii. 265, "grounded upon no other argument." 6. candle] Probably alluding to St. Luke xv. 8 (Steevens). 7. turn] return, as in Richard III. IV. iv. 184: "ere from this war thou turn a conqueror." 10. seizure. . . seize] Furness aptly remarks that it is doubtful whether the legal term here is strictly used, since "seizure" can only occur after "forfeiture," which here is dependent upon Oliver's not producing his brother's body. II. quit] acquit. Compare Henry V. II. ii. 166: "God quit you in his mercy." 17. Make an extent] "To make an extent of lands is a legal phrase, from |