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his time onwards the tendency has been to make Shakespearean productions gorgeous pageants, necessitating compression of several scenes into one and other questionable alterations of the text.

The most noteworthy of comparatively recent productions were: the Rosalind of Mrs. Kendall to her husband's Orlando and the Jaques of Hermann Vezin at the Opéra Comique, London, 1875; ten years later she played Rosalind with John Hare as Touchstone. For this performance Alfred Cellier wrote new incidental music. Mrs. Langtry first appeared as Rosalind in 1882, with Kyrle Bellew as Orlando. At Stratford-on-Avon, in August, 1885, the beautiful American actress, Mary Anderson, opened the Shakespeare Memorial Theatre with a performance of her Rosalind. She was noted for her earnest candor and demure reserve in the part.

The American manager, Augustin Daly, gave several productions of As You Like It in New York, as well as at Stratford-on-Avon and London. By the playgoers of the last generation, Daly's productions of Shakespeare were looked upon with respect little short of idolatry. As a matter of fact, he took many liberties with the text and had a fondness for inappropriate musical accompaniment to the longer speeches. He was, on the other hand, aided by a company of excellent artists, such as Miss Ada Rehan and John Drew. In his acting version of As You Like It, he omitted Sir Oliver Martext and the Second Lord, and rearranged the incidents of the fifth act. On the credit side, he omitted the cuckoo song, restored the speeches of the First Lord in II. i., and the Masque of Hymen, which latter was not generally played, except by Mrs. Langtry, in nineteenth century versions. Miss Ada Rehan first played Rosalind under Daly's management, at New York, on December 17, 1889, and in London, in April, 1894. Miss Rehan acted Rosalind as a young girl enjoying a

merry woodland frolic. William Winter says her Rosalind was 'all sweetness and brilliancy.'

Of late years, As You Like It has been frequently seen upon both the amateur and professional stages. It likewise crossed the Channel to the Continent. George Sand wrote, in 1856, a free French translation under the title, Comme il vous plaira, which was played in Paris. In Germany it is also a familiar comedy at least, in German translations. In America, Julia Arthur, 1898, E. H. Sothern and Julia Marlowe, 1910, and Margaret Anglin, 1914, have continued the stage history of this play. In England, Sir George Alexander, Ben Greet, Sir F. H. Benson, Fred Terry and Julia Neilson, Oscar Ashe and Lily Brayton, Sir Johnston Forbes-Robertson, Nigel Playfair, and others have given acceptable and often beautiful performances. Perhaps the most remarkable chapter in all its history occurred during the Great War. At Ruhleben, the English civilian prison camp in Germany, Welland produced the forest scenes with actors chosen from among the prisoners of war.



There is no known quarto edition of As You Like It. The earliest edition is, therefore, that of the First Folio of 1623.

The text of the present edition is by permission that of Craig's Oxford Shakespeare, published by the Oxford University Press. Deviations from the Oxford text have been made in a few places in which the late Mr. Craig adopted modern emendations. The reading of the First Folio has been followed wherever the sense does not clearly demand an alteration. Minor changes of spelling and punctuation have not been listed.

The stage directions are those of the First Folio, with all supplementary directions enclosed in square brackets.

The list of departures from the Oxford text follows, Craig's readings being those after the colons:

[blocks in formation]

II. i. 6

II. i. 9

II. i. 18

II. iii. 8

III. ii. 279

IV. i. 109

IV. iii. 89

IV. iii. 106

V. ii. 105

V. ii. 113

The seasons' difference- : the seasons' difference;

smile and say-: smile and say

Ami. I would not change it: This is assigned by Craig to Duke Senior

bonny: bony

moe: more

chroniclers: coroners

the woman low: but the woman low,
an old oak: an oak

obedience: obeisance

Why do you speak too: Who do you speak to,



W. W. Greg: Lodge's 'Rosalynde,' being the original of Shakespeare's 'As You Like It.' The Shakespeare Classics. New York and London, 1907.

Richard Grant White: Studies in Shakespeare. Boston, 1886. See pp. 233 ff.

Helena Faucit, Lady Martin: On Some of Shakespeare's Female Characters. 7th ed. London, 1904. See pp. 227 ff. (1st ed., 1885.)

Mrs. Anna Jameson: Characteristics of Women. Boston, n. d., Riverside Press. See pp. 110 ff. (1st ed., London, 1832; revised and enlarged, 1833.)


Louis Lewes: The Women of Shakespeare. Translated from the German by Helen Zimmern. York, 1895. See pp. 224 ff.

Stopford A. Brooke: On Ten Plays of Shakespeare. New York, 1904. As You Like It, pp. 155 ff.

H. N. Hudson: Shakespeare: His Life, Art, and Characters. 4th ed., revised. New York, 1915. See pp. 330 ff.

William Winter: Shakespeare on the Stage. Second series. New York, 1914. As You Like It, pp.

215 ff.

W. W. Greg: Pastoral Poetry and Pastoral Drama. London, 1906.

H. H. Furness: A New Variorum Edition of Shakespeare. As You Like It. 1st ed. Philadelphia, 1890. Contains portions of The Tale of Gamelyn and Lodge's Rosalynde in an appendix.


(Figures in full-faced type refer to page-numbers)

a: 95 (V. iii. 16)

abus'd in sight: 70 (III. v.
address'd: 103 (V. iv. 163)
adventure: 31 (II. iv. 44)
after it: 69 (III. v. 45)
after kind: 49 (III. ii. 110)
against: 78 (IV. i. 158)
Aliena: 23 (I. iii. 131)
allottery: 3 (I. i. 78)
all points: 22 (I. iii. 119)
all stage: 42 (II. vii.

along: 24 (II. i. 30)

am remember'd: 72 (III. v.

an: 41 (II. vii. 100)
anatomize: 6 (I. i. 165)
anon: 25 (II. i. 52)
antic: 24 (II. i. 31)
any: 12 (I. ii. 150)
apish: 60 (III. ii. 438)
are for you: 95 (V. iii. 10)
argument: 45 (III. i. 3)
as: 23 (II. i. 6)

as fear: 97 (V. iv. 4)
aspect: 83 (IV. iii. 54)
Atalanta's better part: 51
(III. ii. 156)

at an instant: 21 (I. iii. 77)
atomies: 54 (III. ii. 246)
atone: 101 (V. iv. 117)
at school: 1 (I. i. 6)
attorney: 76 (IV. i. 97)
audience: 54 (III. ii. 253)
a week: 29 (II. iii. 74)
ay... catechism: 54 (III.
ii. 241)

bandy: 90 (V. i. 62)
bastinado: 90 (V. i. 61)
batler: 31 (II. iv. 48)
bawdry: 64 (III. iii. 103)
bay of Portugal: 79 (IV. i.

becomes: 54 (III. ii. 258)
beggarly: 35 (II. v. 29)
beholding: 74 (IV. i. 62)
bell-wether: 48 (III. ii. 86)
be naught: 2 (I. i. 38)
'be presents': 12 (I. ii.

be ware: 32 (II. iv. 59)
bestows himself: 84 (IV. iii.
better parts: 16 (I. ii. 266)
better world: 18 (I. ii. 301)
bills: 12 (I. ii. 132)


bird nest: 79 (IV. i.

blood: 99 (V. iv. 59)
blue eye: 59 (III. ii. 398)
bob: 39 (II. vii. 55)
bolden'd: 40 (II. vii. 91)
bonny priser: 27 (II. iii. 8)
book: 100 (V. iv. 95)
bounden: 18 (I. ii. 303)
bounds of feed: 33 (II. iv.

bow: 64 (III. iii. 85)
branch: 80 (IV. ii. 5)
brave: 66 (III. iv. 41)
brawls: 24 (II. i. 32)
breather: 56 (III. ii. 298)
bringest: 55 (III. ii. 264)
broken music: 12 (I. ii. 151)

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