PERSONS REPRESENTED.

Duke, living in exile.

Frederick, brother to the duke, and usurper of his

Rosalind, daughter to the banished Duke.

Celia, daughter to Frederick.

Phebe, a shepherdess.

Audrey, a country wench.

Lords belonging to the two Dukes; Pages, Foresters, and other Attendants.

The Scene lies, first, near Oliver's house; afterwards, partly in the Usurper's court, and partly in the forest of Arden.

Oli.

Act IV. Scene III.

Kindness, nobler ever than revenge,

And nature, stronger than his just occasion,
Made him give battle to the lioness.

OBSERVATIONS

ON

THE FABLE AND COMPOSITION

OF

AS YOU LIKE IT.

AS YOU LIKE IT was certainly borrowed, if we believe Dr. Grey and Mr. Upton, from the Coke's Tale of Gamelyn; which by the way was not printed till a century afterward: when in truth the old bard, who was no hunter of MS. contented himself solely with Lodge's Rosalynd, or Euphues' Golden Legacye, 4to. 1590. FARMER.

Shakspeare has followed Lodge's novel more exactly than is his general custom when he is indebted to such worthless originals; and has sketched some of his principal characters, and borrowed a few expressions from it. His imitations, &c. however, are in general too insignificant to merit transcription.

It should be observed that the characters of Jaques, the Clown, and Audrey, are entirely of the poet's own formation.

Although I have never met with any edition of this comedy before the year 1623, it is evident, that such a publication was at least designed. At the beginning of the second volume of the entries at Stationers' Hall, are placed two leaves of irregular prohibitions, notes, &c. Among these are the following:

The dates scattered over these pages are from 1596 to 1615.

VOL. II.

STEEVENS.

ii

Of this play the fable is wild and pleasing. I know not how the ladies will approve the facility with which both Rosalind and Celia give away their hearts. To Celia much may be forgiven for the heroism of her friendship. The character of Jaques is natural and well preserved. The comick dialogue is very sprightly, with less mixture of low buffoonery than in some other plays; and the graver part is elegant and harmonious. By hastening to the end of his work, Shakspeare suppressed the dialogue between the usurper and the hermit, and lost an opportunity of exhibiting a moral lesson in which he might have found matter worthy of his highest powers.

JOHNSON.