Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan (eds), The New Oxford Shakespeare: Critical Reference Edition, Vol. 2

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1.1Q3rSc. 1Actus primus. Scœna Prima.

Enter Orlando and Adam.
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Orlando. As I remember Adam, it was vpon this fashion bequeathed 2me by will, but poore a thousand Crownes, and as thou saist, charged my 3brother on his blessing to breed mee well: and there begins my sadnesse: 4My brother Iaques he keepes at schoole, and report speakes goldenly of 5his profit: for my part, he keepes me rustically at home, or (to speak more 6properly) staies me heere at home vnkept: for call you that keeping for a 7gentleman of my birth, that differs not from the stalling of an Oxe? his 8horses are bred better, for besides that they are faire with their feeding, Critical Apparatus9they are taught their mannage, and to that end Riders deerely hir'd: but 10I (his brother) gaine nothing vnder him but growth, for the which his 11Animals on his dunghils are as much bound to him as I: besides this 12nothing that he so plentifully giues me, the something that nature gaue 13mee, his countenance seemes to take from me: hee lets mee feede with 14his Hindes, barres mee the place of a brother, and as much as in him lies, 15mines my gentility with my education. This is it Adam that grieues 16me, and the spirit of my Father, which I thinke is within mee, begins to 17mutinie against this seruitude. I will no longer endure it, though yet I 18know no wise remedy how to auoid it.

Enter Oliuer.
19

Adam. Yonder comes my Master, your brother.

20

Orlan. Goe a-part Adam, and thou shalt heare how he will shake 21me vp.

22

Oli. Now Sir, what make you heere?

23

Orl. Nothing: I am not taught to make any thing.

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Oli. What mar you then sir?

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Orl. Marry sir, I am helping you to mar that which God made, a 26poore vnworthy brother of yours with idlenesse.

27

Oliuer. Marry sir be better employed, and be naught a while.

28

Orlan. Shall I keepe your hogs, and eat huskes with them? what 29prodigall portion haue I spent, that I should come to such penury?

30

Oli. Know you where you are sir?

31

Orl. O sir, very well: heere in your Orchard.

pg 186632

Oli. Know you before whom sir?

33

Orl. I, better then him I am before knowes mee: I know you are 34my eldest brother, and in the gentle condition of bloud you should so 35know me: the courtesie of nations allowes you my better, in that you are 36the first borne, but the same tradition takes not away my bloud, were 37there twenty brothers betwixt vs: I haue as much of my father in mee, as 38you, albeit I confesse your comming before me is neerer to his reuerence.

39

Oli. What Boy.

40

Orl. Come, come elder brother, you are too yong in this.

41

Oli. Wilt thou lay hands on me villaine?

Critical Apparatus42

Orl. I am no villaine: I am the yongest sonne of Sir Rowland de Boys, 43he was my father, and he is thrice a villaine that saies such a father begot 44villaines: wert thou not my brother, I would not take this hand from thy 45throat, till this other had puld out thy tongue for saying so, thou hast 46raild on thy selfe.

47

Adam. Sweet Masters bee patient, for your Fathers remembrance, be at 48accord.

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Oli. Let me goe I say.

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Orl. I will not till I please: you shall heare mee: my father charg'd 51you in his will to giue me good education: you haue train'd me like a 52pezant, obscuring and hiding from me all gentleman-like qualities: the 53spirit of my father growes strong in mee, and I will no longer endure it: 54therefore allow me such exercises as may become a gentleman, or giue 55mee the poore allottery my father left me by testament, with that I will 56goe buy my fortunes.

57

Oli. And what wilt thou do? beg when that is spent? Well sir, get 58you in. I will not long be troubled with you: you shall haue some part 59of your will, I pray you leaue me.

60

Orl. I will no further offend you, then becomes mee for my good.

61

Oli. Get you with him, you olde dogge.

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Adam. Is old dogge my reward: most true, I haue lost my teeth in your 63seruice: God be with my olde master, he would not haue spoke such a 64word.

Critical ApparatusEx.Orl.Ad.
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Oli. Is it euen so, begin you to grow vpon me? I will physicke your Critical Apparatus66ranckenesse, and yet giue no thousand crownes neyther: holla Dennis.

Enter Dennis.
67

Den. Calls your worship?

68

Oli. Was not Charles the Dukes Wrastler heere to speake with me?

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Den. So please you, he is heere at the doore, and importunes accesse to you.

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Oli. Call him in: 71'twill be a good way: and to morrow the wrastling is.

Enter Charles.
72

Cha. Good morrow to your worship.

Critical Apparatus73

Oli. Good Mounsier Charles: what's the new newes at the new Court?

pg 186774

Charles. There's no newes at the Court Sir, but the olde newes: that is, the 75old Duke is banished by his yonger brother the new Duke, and three or

Q3v Link 76foure louing

Lords haue put themselues into voluntary exile with him,

77whose lands and reuenues enrich the new Duke, therefore he giues them 78good leaue to wander.

79

Oli. Can you tell if Rosalind the Dukes daughter bee banished with 80her Father?

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Cha. O no; for the Dukes daughter her Cosen so loues her, being Critical Apparatus82euer from their Cradles bred together, that [shee] would haue followed 83her exile, or haue died to stay behind her; she is at the Court, and 84no lesse beloued of her Vncle, then his owne daughter, and neuer two 85Ladies loued as they doe.

86

Oli. Where will the old Duke liue?

Critical Apparatus87

Cha. They say hee is already in the Forrest of Arden, and a many 88merry men with him; and there they liue like the old Robin Hood of 89England: they say many yong Gentlemen flocke to him euery day, and 90fleet the time carelesly as they did in the golden world.

91

Oli. What, you wrastle to morrow before the new Duke.

92

Cha. Marry doe I sir: and I came to acquaint you with a matter: 93I am giuen sir secretly to vnderstand, that your yonger brother 94Orlando hath a disposition to come in disguis'd against mee to try a 95fall: to morrow sir I wrastle for my credit, and hee that escapes me 96without some broken limbe, shall acquit him well: your brother is 97but young and tender, and for your loue I would bee loth to foyle him, 98as I must for my owne honour if hee come in: therefore out of my loue 99to you, I came hither to acquaint you withall, that either you might stay 100him from his intendment, or brooke such disgrace well as he shall runne 101into, in that it is a thing of his owne search, and altogether against 102my will.

103

Oli. Charles, I thanke thee for thy loue to me, which thou shalt finde I 104will most kindly requite: I had my selfe notice of my Brothers purpose 105heerein, and haue by vnder-hand meanes laboured to disswade him Critical Apparatus106from it; but he is resolute. Ile tell thee Charles, it is the stubbornest 107yong fellow of France, full of ambition, an enuious emulator of euery 108mans good parts, a secret & villanous contriuer against mee his 109naturall brother: therefore vse thy discretion, I had as liefe thou didst 110breake his necke as his finger. And thou wert best looke to't; for if thou 111dost him any slight disgrace, or if hee doe not mightilie grace himselfe 112on thee, hee will practise against thee by poyson, entrap thee by some 113treacherous deuise, and neuer leaue thee till he hath tane thy life by 114some indirect meanes or other: for I assure thee, (and almost with teares 115I speake it) there is not one so young, and so villanous this day liuing. 116I speake but brotherly of him, but should I anathomize him to thee, as 117hee is, I must blush, and weepe, and thou must looke pale and wonder.

pg 1868118

Cha. I am heartily glad I came hither to you: if hee come to morrow, 119Ile giue him his payment: if euer hee goe alone againe, Ile neuer wrastle 120for prize more: and so God keepe your worship.

Exit.
Critical Apparatus121

[Oli.] Farewell good Charles. 122Now will I stirre this Gamester: I hope I shall see an end of him; for 123my soule (yet I know not why) hates nothing more then he: yet hee's 124gentle, neuer school'd, and yet learned, full of noble deuise, of all 125sorts enchantingly beloued, and indeed so much in the heart of the 126world, and especially of my owne people, who best know him, that I am 127altogether misprised: but it shall not be so long, this wrastler shall cleare 128all: nothing remaines, but that I kindle the boy thither, which now Ile 129goe about.

Exit.

Notes Settings

Notes

Critical Apparatus
1.1.9 mannage jaggard = manège
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1.1.42, 44 villaine … villaines jaggard = villein … villeins. The distinction in spelling retains the pun of 'villain' meaning 'scoundrel' while prioritizing 'villein' meaning 'tenant'.
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1.1.42 Boys jaggard = Bois. 'Shakespeare clearly intended the name to be French' (wells).
Critical Apparatus
1.1.64.1 Ex.Orl.Ad. jaggard = Exeunt Orlando and Adam. The compositor crammed and abbreviated the stage direction to fit the line.
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1.1.66 Dennis = Denis. As throughout.
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1.1.73 Good Mounsier jaggard; Good morrow, monsieur conj. Walker (II.263). An eye-skip error is plausible, and emendation creates an attractive parallel.
Critical Apparatus
1.1.73 new Court jaggard; Court furness. Possibly dittography; Oliver's response picks up on 'new newes' but not 'new Court.' Lettsom, in walker, proposes emending the next line's 'no newes' to 'no new newes'.
Critical Apparatus
1.1.82 shee chetwinde (she); hee jaggard. Because they are talking about Celia, the pronoun must be feminine. This would be an easy substitution error, or the compositor was influenced by 'Dukes'.
Critical Apparatus
1.1.87 Arden jaggard = Ardenne (wells). The play being set in France, 'Arden' refers to the Ardennes, a mountainous region of France; or, as in Lodge, a forest near Bordeaux. 'Arden' is also a forest near Stratford-upon-Avon in England; Wells, finding it unlikely that the English forest is intended, modernizes to the French spelling (Re-Editing 28–30).
Critical Apparatus
1.1.106 it jaggard; he rowe. Editors often retain 'it' as a dismissive use of the neuter pronoun in place of 'he', but Oliver does not elsewhere address Orlando in this way, and the compositor may have picked up 'it' from the previous sentence.
Critical Apparatus
1.1.121 Oli. allot; not in jaggard. It is possible that a scribe or compositor dropped the speech-prefix, perhaps thinking that the 'Exit.' for Charles in the previous line, which left Oliver alone on stage, was adequate indication that the final speech was Oliver's.
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