J KATHARINE AND PETRUCHIO. The Taming of the From the painting by Edward Grützner. › BERTRAM AND HELENA. All's Well that Ends Well. Act II., Sc. v. From an engraving by C. W. Sharpe, after the painting by EXTRA ILLUSTRATIONS Photogravured by G. W. H. Ritchie, New York ADA REHAN AS ROSALIND AND JAMES LEWIS AS J PAGE 212 320 40 From a photograph by Sarony. JULIA MARLOWE AS ROSALIND. As You Like It. 57 From a photograph by Falk. J ADA REHAN AS ROSALIND AND JOHN DREW AS OR From photographs by Alfred Ellis & Walery and Langfier, Ltd. JULIA MARLOWE AS KATHARINE, AND EDWARD H. SOTHERN AS PETRUCHIO. The Taming of the Shrew. 171 From photographs. JOHN DREW AS PETRUCHIO, ADA REHAN AS KATH ARINE, AND JAMES LEWIS AS GRUMIO. The Taming of the Shrew. From photographs by Sarony. FACSIMILE → A Pleasant Conceited Historie, called, The Taming of a Shrew. 1594. Title-page 199 126 As You Like It occupies twenty-three pages in the folio of 1623, viz., from p. 185 to p. 207, inclusive, in the division of Comedies. It is there divided into Acts and Scenes; but is without a list of Dramatis Personæ, which was first given by Rowe. HOMAS LODGE, a scholar, a gentleman,—at least by TH birth, —a lawyer, a soldier, and a player, published in 1590 a tale, called Rosalind. It would long ago have passed forever into the limbo of forgotten things had not Shakespeare made it the foundation of As You Like Itusing the plot as a sculptor uses the straddling wire on which he models an Apollo. Lodge found somewhat more than the germ of his story in the Tale of Gamelyn, which was for a long time attributed to Chaucer.2 Where the author of the Tale of Gamelyn found his part of it, we do not know; nor is knowledge on that point of any moment to the reader of Shakespeare; for the story has its conditions in such a state of society that it cannot be of very great antiquity. Its 1 Rosalynde. Euphues Golden Legacie, found after his Death in his Cell at Silexdra. Bequeathed to Philautus Sonnes, nursed up with their Father in England. Fetched from the Canaries by T. L. Gent. London. Printed by Abel Jeffes for T. G. and John Busbie. 4to. 1592. Collier has reprinted this edition in his Shakespeare's Library [Vol. II.]. No copy of the edition of 1590 is known to exist. [An imperfect copy was discovered and from it the Hunterian Club made a reprint (1878), which is condensed in Furness. There is a cheap edition of the tale in Cassell's National Library (1886).] 2 This tale will be found in Wright's excellent edition of Chaucer's Works, published by the Percy Society [and best in Skeat's The Tale of Gamelyn (1884). Whether Shakespeare himself owed anything directly to the tale is a question that has been much discussed. It seems unlikely. See Ward, II. 130, and Furness, 308. Furness suggests, reasoning from the discrepancies between the Touchstones of Act I. and of Act V. and from other blemishes, that possibly Shakespeare drew his materials from some play previously based on Lodge's tale.] 4 TRAYSAN ་་་་་ As You Like It elemental incidents have not that simple relation to man as man, which indicates, for instance, the primitive origin of the stories of King Lear and The Merchant of Venice, the main interest of which depends upon events that are possible wherever the human race is found, and that might have happened as well before the Flood as after. Shakespeare's obligations to a predecessor stop [save possibly in a few details] with Lodge and his Rosalynde [to which romance Shakespeare may also have owed his title]. To point out the conformity of the play to the novel would be to recount here [nearly] all the incidents of [both]. In constructing As You Like It from Rosalind, Shakespeare condensed and rejected that which in the tale is merely accessory and episodical; but he altered so little in mere structure that it is not worth while to notice the difference between the two. He retained all the characters, and the names of several besides the heroine; and he added Jaques, Touchstone, William, and Audrey. But although there is this identity in the plots of the tale and the comedy, Shakespeare's creative power appears none the less remarkably in the latter. The personages in the two works have nothing in common but their names and the functions which they perform. In the tale they are without character, and exist but to go through certain motions and utter certain formally constructed Complaints and Passions. The ladies quote Latin in a style and with a copiousness which would delight a Woman's Rights Convention, and quench, in any man of flesh and blood, the ardour of that love which is the right most prized of woman. Rosalind, for instance, musing upon her dawning passion for Rosader the Orlando of the tale- and his poverty, says, "Doth not Horace tell thee what methode is to be used in love? Querenda pecunia primum, post nummos virtus.'” was a model for the traits and the language of Shakespeare's Rosalind! In a word, the Act of Parliament which Steevens supposed might compel a perusal of Shakespeare's Sonnets would surely fail to do the same for that novel which is identical in its plot with Shakespeare's most charming and most There |