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Under the editorial_supervision of LINDSAY TODD DAMON, A. B., Associate Professor of English, in Brown University.

ADDISON-The Sir Roger de Coverley Papers.

HERBERT VAUGHAN ABBOTT, A. M., Columbia University. *BURKE-Speech on Conciliation with America,

JOSEPH VILLIERS DENNEY, B. A., Ohio State University. CARLYLE-Essay on Burns,

GEORGE B. AITON, State Inspector of H. S.. Minn. COOPER-Last of the Mohicans,

EDWIN H. LEWIS, Ph. D., Lewis Institute, Chicago." COLERIDGE-The Ancient Mariner, †LOWELL-Vision of Sir Launfal,

One Vol.,

University.

MACAULAY-Essays on Addison and Johnson,
ALPHONSO G. NEWCOMER, A. M.

WILLIAM VAUGHN MOODY, A. M., University of Chicago. DE QUINCEY-The Flight of a Tartar Tribe, CHARLES W. FRENCH, A. M., Hyde Park High School. DRYDEN-Palamon and Arcite,

25c.

25c.

MAY ESTELLE COOK, A. B., Chicago. +GEORGE ELIOT-Silas Marner,

30c.

ALBERT E. HANCOCK, Ph. D., Haverford College. †GOLDSMITH-The Vicar of Wakefield,

30c.

EDWARD P. MORTON, A. M., The Indiana University. HAWTHORNE-The House of the Seven Gables,

35c.

ROBERT HERRICK, A. B., The University of Chicago. IRVING-Tales of a Traveller and parts of The Sketch Book, 40c. GEORGE P. KRAPP, Teachers' College, New York. LOWELL-Vision of Sir Launfal. See Coleridge. *MACAULAY-Essays on Milton and Addison,

ALPHONSO G. NEWCOMER, A. M., Leland Stanford Junior

*MILTON-L'Allegro, II Penseroso, Comus, and Lycidas, W. A. NEILSON, Ph. D., Harvard University. MILTON-Paradise Lost, Books I and II,

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FRANK E. FARLEY, Ph. D., Syracuse University, POE-Poems and Tales, Selected,

SCOTT-Lay of the Last Minstrel,

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WILLIAM VAUGHN MOODY, A. M., and

MARY R. WILLARD, High School, Jamestown, N. Y. SCOTT-Lady of the Lake,

WILLIAM VAUGHN MOODY, A. M.

WILLIAM E. SIMONDS, Ph. D., Knox College. SHAKSPERE-As You Like It,

W. A. NEILSON, Ph. D., Harvard University. *SHAKSPERE-Macbeth,

ALPHONSO G. NEWCOMER, A. M.

POPE-Homer's Iliad, Books I, VI, XXII, XXIV,

WILFRED W. CRESSY, A. M., and WILLIAM VAUGHN

MOODY, A. M.

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†SHAKSPERE-Julius Caesar,

W. A. NEILSON, Ph. D., Harvard University. †TENNYSON-The Princess,

JOHN HENRY BOYNTON, Ph. D., Syracuse University.' W. A. NEILSON, Ph. D. Harvard University. †SHAKSPERE-Merchant of Venice,

ROBERT MORSS LOVETT, The University of Chicago.

PUBLISHERS,

30C.

25C.

25c.

40c.

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25c.

SCOTT, FORESMAN AND COMPANY

SCOTT-Marmion,

WILLIAM VAUGHN MOODY, A. M., and MARY R. WILLARD, †SCOTT-Ivanhoe,

30C.

30c.

25c.

25c.

30c.

25c.

25c.

30c.

30C.

45C.

25c

25c.

CHARLES TOWNSEND COPELAND, A. B., Harvard College. *For Study and Practice. College Entrance Requirements in †For Reading. English, 1903.

25c.

25c.

25c.

378-388 WABASH AVENUE.....CHICAGO

The Lake English Classics

EDITED BY

LINDSAY TODD DAMON, A.B. Associate Professor of English in Brown University

SHAKSPERE'S

AS YOU
AS YOU LIKE IT

EDITED FOR SCHOOL USE

BY

WILLIAM ALLAN NEILSON, M.A., Ph.D.

HARVARD UNIVERSITY

CHICAGO

SCOTT, FORESMAN AND COMPANY

1903

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ROBT. O. LAW CO., PRINTERS AND BINDERS, CHICAGO.

PREFACE.

The aim in the volumes of this series is to present a satisfactory text of each play, modernized in spelling and punctuation, with as full an equipment of explanation and comment as is necessary for thorough intelligibility. The first section of the introduction is intended to give the student an idea of the place of the play in the history of the English Drama in general and of Shakspere's development in particular. In the present volume a considerable amount of space in the second section has been devoted to the source of the play and to Shakspere's adaptation of it to his dramatic purposes. The mere statement of the name of the book from which the plot is drawn is of little significance unless the student is enabled to form some conception of the omissions, additions, and modifications to which the earlier work was subjected by the dramatist. An attempt has therefore been made to give a concise summary of those features in Lodge's novel of Rosalynde a comparison of which with the corresponding parts of As You Like It helps to throw light on Shakspere's aim and methods. The task of aesthetic interpretation has been for the most part left to the teacher, and the significance of the changes just

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