k the legend, 'Here you
may see Jaques, the married man.' At this juncture Rosalind and Celia
appear, and, while Rosalind as Ganymede has her first colloquy with
Orlando, 'Jaques talks with Celia--they walk in another glade of the
forest.' When they return it is at once evident that Jaques' celibate
intentions have already been shaken. He calls the lady 'destructively
handsome,' and says his heart 'gallops away in her praise most
dangerously.' She avers he will be in love if he does not take heed, and
he says, 'I doubt so--yet I hope not.' A moment or two after, encouraged
and fired by her words, he asks her plump to marry him, and she promises
so to do, 'two years hence, if my brother Ganymede consents.' Then he
admits, in soliloquy, that he is 'in love, horribly in love,' his
spirits 'caught at last by a pair of bugle eyeballs and a cheek of
cream.' And then come more quotations from Benedick, as well as an
annexation of Touchstone's remark about the honourableness of the
forehead of a married man. Celia by-and-by confesses to Rosalind that
'her heart doth incline a little to the philosopher,' whose love, she
allows, 'does not sit easy upon him,' but whose words are 'full of
sincerity.' Still later Jaques comes to Rosalind for her approval of the
match, speaking this time in language used by Biron. She, however,
refuses, declaring that he cannot be polished into a modern husband; and
he retires disconsolate. But with Orlando he is more successful. He is
promised that Ganymede shall give way, and that his wedding shall take
place to-morrow. And so all ends happily.

The 'J. C.' who, in 1739, published 'The Modern Receipt, or a Cure for
Love,' as 'altered from Shakespeare,' went much farther than Johnson in
the way of embellishing the unhappy poet. He used his lines
occasionally, but in general either turned them into prose or expanded
them beyond all recognition. Virtually he supplies a comedy based, only,
on 'As You Like It.' Even the names of the characters are changed.
Jaques now figures as Marcellus, 'a sullen, morose lord, a great
woman-hater, but at length in love with Julia'--the Julia being, of
course, Celia. He is described by a shepherd as 'a melancholy sort of
fellow,' who 'reads much, thinks more, eats little, sleeps little, and
speaks least of all. And if he sees a woman he runs away, shuts himself
up in his cave, and prays for an hour or two after.' Julia, hearing
this, cries: 'Oh, the brute! I'm resolved