71. Comment upon its wit. How does it compare, for instance, with that of Measure for Measure?

72. What change in the tone of social intercourse do we observe between Shakespeare's era and our own?

73. Wherein resides the great charm of Beatrice? What are her splendid womanly qualities?

74. Critics have disagreed as to the probable happy marriage. What is your prophecy?

75. Do you think highly of Benedick? Had he a chivalrous nature? Had he been penetrating, would he not have seen the real drift of Beatrice's persecutions?

76. To what things was Claudio's nature especially sensitive? What were his limitations?

77. Where does Beatrice point out his gravest misdemeanor? 78. Is there any dramatic purpose in creating Hero as one lacking in positive qualities?

79. Estimate the character of Don Pedro; of Borachio; of Margaret.

80. Show the fitness of the title, Much Ado About Nothing. 81. How does the drama differ from the novel in respect to the degree in which mystery may be employed to shroud the true course of events?

82. While dealing with a harrowing episode like the plot against Hero, how does Shakespeare all along convey the feeling that things will come out well?

AS YOU LIKE IT.

Preface.

The Editions. As You Like It was published for the first time in the First Folio; a Quarto edition was contemplated many years previously, but for some cause or other was 'staied,' and the play is mentioned among others in 1623, when Jaggard and Blount obtained permission to print the First Folio, as 'not formerly entered to other men.' The text of the play in the four Folios is substantially the same, though the Second Folio corrects a few typographical and other errors in the first edition.

As You Like It was in all probability produced under circumstances necessitating great haste on the part of the author, and many evidences of this rapidity of composition exist in the text of the play, e.g. (i.) in Act I. Sc. ii. line 284, Le Beau makes Celia' the taller,' which statement seems to contradict Rosalind's description of herself in the next Scene (I. iii. 117), because that I am more than common tall': (ii.) again, in the first Act the second son of Sir Rowland de Boys is referred to as 'Jaques,' a name subsequently transferred to another and more important character; wherefore when he appears in the last Act he is styled in the Folio merely second brother' (iii.) 'old Frederick, your father' (I. ii. 87) seems to refer to the banished duke (Duke senior'), for to Rosalind, and not to Celia, the words thy father's love, etc., are as◄ signed in the Folio; either the ascription is incorrect, or 'Frederick' is an error for some other name, perhaps for 'Ferdinand,' as has been suggested; attention should also be called to certain slight inaccuracies, e.g. 'Juno's swans (vide Glossary); finally, the part of Hymen in the last