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You may not come, fair princess, within my gates'';
you shall deem yourself lodg’d in my heart,
Prin. Sweet health and fair desires consort your grace!
[Exeunt King and his train. Biron. Lady, I will commend you to mine own
heart? Ros. Pray you, do my commendations; I would be glad to see it.
Biron. I would, you heard it groan. •
. Long. I beseech you a word. What is she in the
10 — within my gates ;] So the 4to, 1598, and so we ought to read for the antithesis of “ without” in the next line.
– Pair harbour in my house.] The folio, 1623, reads farther for "fair." In the next line but one “shall we” is transposed in the folio.
? Lady, I will commend you to mine own heart.] In the folio this and the speeches immediately following are given to Boyet. In the 4to. they are rightly assigned to Biron.
3 Is the pool sick!] So the 4to, 1598 : the folio reads soul.
• No point, with my knife.) A quibble on Non point, Fr., which occurs again A. v. sc. 2. See p. 360.
white ? Boyet. A woman sometimes, an you saw her in the
light'. Long. Perchance, light in the light. I desire her
Boyet. She hath but one for herself; to desire that,
were a shame.
Boyet. Good sir, be not offended.
Long. Nay, my choler is ended.
Boyet. Not unlike, sir: that may be. [Exit Long.
[Exit BIRON.—Ladies unmask.
And every jest but a word. Prin. It was well done of you to take him at his
word. Boyet. I was as willing to grapple, as he was to
board. Mar. Two hot sheeps, marry! Boyet.
And wherefore not ships? No sheep, sweet lamb, unless we feed on your lips.
- AN you saw her in the light.] The folio has if instead of “an :” the meaning is of course the same.
6 What's her name, in the cap ?) Here Biron again comes forward to question Boyet. In the old copies we have, “ Enter Berowne," as a stage-direction, because his erit had been previously inserted.
Mar. You sheep, and I pasture: shall that finish
the jest? Boyet. So you grant pasture for me.
[Offering to kiss her. Mar.
Not so, gentle beast. My lips are no common, though several they be?.
Boyet. Belonging to whom?
To my fortunes and me. Prin. Good wits will be jangling; but, gentles,
agree. This civil war of wits were much better used On Navarre and his book-men, for here 'tis abused.
Boyet. If my observation, (which very seldom lies) By the heart's still rhetoric, disclosed with eyes, Deceive me not now, Navarre is infected.
Prin. With what?
7 My lips are no common, though several they be.] Shakespeare clearly intends to play upon the words “common” and “ several;” the first meaning open uninclosed land, and the last such as, having been once common, has been separated and made private property. A difficulty has arisen from the use of “though," for if Shakespeare had employed but, instead of “though,” the opposition designed between
and “ several ” would have been complete. Perhaps we ought to take" though” in the sense of because, and then Margaret's reply will mean that she will not allow Boyet, under the figure of a sheep, to pasture upon her lips, because they are no “common,” but “ several.” The sense of
several,” in relation to the division of the lips, is sufficiently obvious.
Who, tend’ring their own worth, from where they were
you give him for my sake but one loving kiss. Prin. Come to our pavilion : Boyet is dispos’dBoyet. But to speak that in words, which his
hath disclos'd. I only have made a mouth of his
eye, By adding a tongue, which I know will not lie. Ros. Thou art an old love-monger, and speak’st skil
fully. Mar. He is Cupid's grandfather, and learns news of
him. Ros. Then was Venus like her mother, for her father
is but grim. Boyet. Do you hear, my mad wenches? Mar.
What then, do you see?
You are too hard for me.
ACT III. SCENE I.
Another part of the Same.
Enter ARMADO and MOTH'. Arm. Warble, child: make passionate my sense of
from WHERE they were glass'd,] This reading is from the 4to : the folio has thence for “where."
9 Enter Armado and Moth.] Here the 4to, 1598, and the folio, 1623, CANARY to it with your feet,] A verb coined from the active nature of the dance called a Canary. The folio has “ with the feet.”
Moth. Concolinel - 10
[Singing. Arm. Sweet air Go, tenderness of years : take this key, give enlargement to the swain, bring him festinately' hither; I must employ him in a letter to my love.
Moth. Master, will you win your love with a French brawl??
Arm. How meanest thou? brawling in French ?
Moth. No, my complete master; but to jig off a tune at the tongue’s end, canary to it with your feet', humour it with turning up your eye-lids*; sigh a note, and sing a note; sometime through the throat, as if you swallowed love with singing love ; sometime through the nose, as if you snuffed up love by smelling love; with
your hat penthouse-like, o'er the shop of your eyes; with your arms crossed on your thin belly's doublet, like a rabbit on a spit; or your hands in your pocket, like a man after the old painting; and keep not too long in one tune, but a snip and away. These are complements, these are humours; these betray nice wenches, that would be betrayed without these, and make them men of note, (do you note, men ?) that most are affected to these.
Arm. How hast thou purchased this experience ?
Moth. By my penny of observation. have“ Enter Braggart and his boy.” In the prefixes in both, Armado is called “ Brag.” until Costard (or “clown") comes in, and then he is called Arm. and the boy Page.
10 Concolinel] Most likely Moth here sang some Italian song, beginning Con Colinel ; but none such, I believe, is now known. The songs thus introduced into old plays were usually popular ditties, and it was therefore often thought unnecessary to give the words.
festinately) i. e. hastily. ? MASTER, will you win your love with a French Brawl ?) “ Master” is the reading of the 4to. A French brawl was a species of dance, in which kissing bore a considerable part : on this account it seems to have given offence to the Puritans.
* – turning up your EYE-LIDS;] The folio has only eye for “ eye-lids," which is the reading of the 4to.
By my PENNY of observation.] There is little doubt that this is the correct