You may not come, fair princess, within my gates1o;
But here without you shall be so receiv'd,
As you shall deem yourself lodg'd in my heart,
Though so denied fair harbour in my house1.
Your own good thoughts excuse me, and farewell:
To-morrow shall we visit you again.

Prin. Sweet health and fair desires consort your grace!
King. Thy own wish wish I thee in every place!
[Exeunt KING and his train.

Biron. Lady, I will commend you to mine own

heart2.

Ros. Pray you, do my commendations; I would be glad to see it.

Biron. I would, you heard it groan.

Ros. Is the fool sick 3?

Biron. Sick at the heart.

Ros. Alack! let it blood.

Biron. Would that do it good?

Ros. My physic says, ay.

Biron. Will you prick't with your eye?

Ros. No point, with my knife*.

Biron. Now, God save thy life!

Ros. And yours from long living!

Biron. I cannot stay thanksgiving.

[Retiring.

Dum. Sir, I pray you, a word. What lady is that

same?

Boyet. The heir of Alençon, Rosaline her name.
Dum. A gallant lady. Monsieur, fare you well.

[Exit.

10 WITHIN my gates ;] So the 4to, 1598, and so we ought to read for the antithesis of "without" in the next line.

1 FAIR harbour in my house.] The folio, 1623, reads farther for "fair.” In the next line but one "shall we " is transposed in the folio.

2 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 FOOL 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.

Long. I beseech you a word. What is she in the white?

Boyet. A woman sometimes, an you saw her in the lights.

Long. Perchance, light in the light. I desire her

name.

Boyet. She hath but one for herself; to desire that, were a shame.

Long. Pray you, sir, whose daughter?

Boyet. Her mother's, I have heard.
Long. God's blessing on your beard!
Boyet. Good sir, be not offended.
She is an heir of Falconbridge.
Long. Nay, my choler is ended.
She is a most sweet lady.

Boyet. Not unlike, sir: that may be.
Biron. What's her name, in the cap?

Boyet. Katharine, by good hap.

[Exit LONG.

Biron. Is she wedded, or no?

Boyet. To her will, sir, or so.

Biron. O! you are welcome, sir. Adieu.

Boyet. Farewell to me, sir, and welcome to you.

[Exit BIRON.-Ladies unmask.

Mar. That last is Biron, the merry mad-cap lord: Not a word with him but a jest.

Boyet.

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!

And wherefore not ships?

Boyet.
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 exit had been previously inserted.

Mar. You sheep, and I pasture: shall that finish

the jest?

Boyet. So you grant pasture for me.

Mar.

My lips are no common, though
Boyet. Belonging to whom?

Mar.

[Offering to kiss her. Not so, gentle beast. several they be'.

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?

Boyet. With that which we lovers entitle, affected. Prin. Your reason?

Boyet. Why, all his behaviours did make their

retire

To the court of his eye, peeping thorough desire:
His heart, like an agate, with your print impressed,
Proud with his form, in his eye pride expressed :
His tongue, all impatient to speak and not see,
Did stumble with haste in his eye-sight to be;
All senses to that sense did make their repair,
To feel only looking on fairest of fair.
Methought, all his senses were lock'd in his eye,
As jewels in crystal for some prince to buy;

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 “ common " 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

glass'd3,

Did point you to buy them, along as you pass'd.
His face's own margin did quote such amazes,
That all eyes saw his eyes enchanted with gazes.
I'll give you Aquitain, and all that is his,

An you give him for my sake but one loving kiss.
Prin. Come to our pavilion: Boyet is dispos'd-
Boyet. But to speak that in words, which his eye 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 skilfully.

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?

8

ACT III. SCENE I.

Another part of the Same.

Enter ARMADO and MOTH".

Arm. Warble, child: make passionate my sense of hearing.

from WHERE they were glass'd,] This reading is from the 4to the folio has whence for "where."

9 Enter Armado and Moth.] Here the 4to, 1598, and the folio, 1623,

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 brawl2?

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 feet3, 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.

2 MASTER, will you win your love with a French BRAWL ?] reading of the 4to.

"Master" is the

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.

3 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."

-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