SCEN E changes to another part of the Forest.

Duke dette

boy

Enter Duke Senior, Amiens, Jaques, Orlando,

Oliver, and Celia.
Duke Sen. T OST thou believe, Orlando, that the
Can do all this that he hath promised?

Orla. I sometimes do believe, and sometimes do not;
As those that fear they hope, and know they fear.

Enter Rosalind, Silvius, and Phebe.
Ros. Patience once more, whiles our compact is

(13) Truly, young Gentleman, the there was no great Matter in The Ditty, yet the Note was very untuneable.) Tho' it is thus in all the printed Copies, it is evident from the sequel of the Dialogue, that the Poet wrote as I have reform'd in the Text, untimeable. Time, and Tune, are frequently mirprinted for one another in the old Editions of Shakespeare. VOL. II.

You

Cl. Salutation, and greeting, to you all!

(14) 0, Sir, we quarrel in Print; by the Book; as you have Books for good Manners.] The Poet throughout this Scene has with great Humour and address rallied the Mode, so prevailing in his Time, of formal Duelling. Nor could he treat it with a happier Contempt, than by making his Clown ro knowing in all its Forms and Preliminaries. It was in Queen Elizabeth's Reign, that pushing with the Rapier, or small Sword, was first pra&is'd in England. And the boisterous Gale lants fell into the Fashion with so much Zeal, that they did not content themselves with practising at Sword in the Schools; but they studied the Theory of the Art, the Grounding of Quarrels, and the Process of giving and receiving Challenges, from Lewis de Caranza's Treatise of Fencing, Vincentio Saviola's Practice of the Rapier and Dagger, and Giacomo Di Grafi's Art of Defence; with many other Instructions upon the several Branches of the Science.

Duke Seni