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Whiles, like a doe, I go to find

my fawn,
And give it food. There is an old poor man,
Who after me hath many a weary step

Limp'd in pure love, 'till he be firft fuffic'd,
Opprefs'd with two weak evils, age and hunger,
I will not touch a bit.

Duke Sen. Go find him out,

And we will nothing wafte till your return.

Orla. I thank ye; and be blefs'd for your good com

fort!

SCENE IX.

[Exit.

Duke Sen. Thou feeft, we are not all alone unhappy :

This wide and univerfal Theatre

Prefents more woful pageants, than the scene
Wherein we play

Jaq. All the world's a Stage,

And all the men and women meerly Players
They have their Exits and their entrances,
And one man in his time plays many parts:
His acts being feven ages. At first the infant,
Mewling and puking in the nurfe's arms:

And then, the whining Ichool-boy with his fatchel,
And thining morning-face, creeping like fnail
Unwillingly to fchool. And then the lover;
Sighing like furnace, with a woful ballad

Made to his mistress' eye-brow. Then a foldier :
Full of strange oaths, and bearded like the pard,
Jealous in honour, fudden, and quick in quarrel;
Seeking the bubble reputation

Even in the cannon's mouth. And then, the justice
In fair round belly, with good capon lin❜d,
With eyes fevere, and beard of formal cut.
Fullof wife faws and modern inftances (8),

(8) Full of wife faws and modern inftances,] It is remarkable that Shakespeare uses modern in the double fenfe that the Greeks used nanov, both for recens and abfurdus. WARBURTON,

I am in doubt whether modern is in this place used for abfurd: the meaning seems to be, that the justice is full of old fayings and late examples.

And

And fo he plays his part. The fixth age shifts (9).
Into the lean and flipper'd pantaloon,

With fpectacles on nofe, and pouch on fide;
His youthful hose well fav'd, a world too wide
For his fhrunk thank; and his big manly voice,
Turning again toward childish treble, pipes
And whiftles in his found. Laft Scene of all,
That ends this ftrange eventful history,

Is fecond childifhnefs, and meer oblivion,
Sans teeth, fans eyes, fans tafte, fans every thing.

SCENE X.

Enter Orlando, with Adam.

Duke Sen. Welcome.

burden (1);

Set down your venerable

And let him feed.

Orla. I thank you moft for him.

Adam. So had you need,

I scarce can speak to thank you for myself.

Duke Sen. Welcome, fall to: I will not trouble you, As yet to question you about your fortunes.

Give us fome mufick; and, good coufin, fing.

(9)

Amiens fings.

SONG.

Blow, blow, thou winter wind,

Thou art not fo unkind

As man's ingratitude;

The fixth age shifts

Into the lean and flipper'd pantaloon,] There is a greater beauty than appears at firft fight in this image. He is here comparing hu man life to a stage play, of feven acts, (which was no unusual divifion before our author's time.) The fixth he calls the lean and flipper'd pantaloon, alluding to that general character in the Italian comedy, called Il Pantalóne; who is a thin emaciated old man in Nippers; and well designed, in that epithet, because Pantalóne is the only character that acts in flippers. WARB.

(1) Set down your venerable burthen.] Is it not likely that Shakespeare had in his mind this line of the Metamorphofes ?

Patremque

Fert humerus, venerabile onus Cythereius beras.

Thy

Thy tooth is not so keen (2),

Because thou art not seen,
Altho thy breath be rude.

(2) Thy tooth not so keen,

Because thou are not seen,]

This fong is defigned to fuit the Duke's exiled condition, who had been ruined by ungrateful flatterers. Now the winter wind, the fong fays, is to be,prefer'd to man's ingratitude. But why? Because it is not SEEN. But this was not only an aggravation of the injury, as it was done in fecret, not feen, but was the very circumftance that made the keehnefs of the ingratitude of his faithlefs courtiers. With out doubt, Shakespeare wrote the line thus,

Because thou art not SHEEN,

i. e. fmiling, fhining, like an ungrateful court-fervant, who flatters while he wounds, which was a very good reafon for giving the winter wind the preference. So in the Midsummer's Night's Dream,

Spangled far light SHEEN,

and several other places. Chaucer ufes it in this sense,

You blissful fufter Lucina the SHENE.

And Fairfax,

The Sacred Angel took bis Target SHENE,
And by the Chriftian Champica fiood unseen.

The Oxford editor, who had this emendation communicated to him, takes occafion from thence to alter the whole line thus,

Thou caufeft not that teen.

But in his rage of correction, he forgot to leave the reason, which is now wanting, Why the winter wind was to be preferred to man's ingratitude. WARBURTON.

I am afraid that no reader is fatisfied with Dr. Warburton's emendation, however vigorously enforced; and it is indeed enforced with more art than truth. Sheen, i. e. Smiling, Shining. That been fignifies fbining is eafily proved, but when or where did it fignify fmiling? yet fmiling gives the fenfe neceffary in this place. Sir T. Hanmer's change is lefs uncouth, but too remote from the prefent text. For my part I question whether the original line is not loft, and this fubftituted merely to fill up the measure and the rhyme. Yet even out of this line, by strong agitation, may fenfe be elicited, and fenfe not unfuitable to the occafion. Thou winter wind, fays the Duke, thy rudeness gives the less pain, as thou art not feen, as the art an enemy that doft not brave us with thy prefence, and whofe unkindness is therefore not aggravated by infult.

Heigh

Heigh bo! fing, beigh ho! unto the green bally.

Moft friendship is feigning; moft loving meer folly:
Then beigh bo, the holy;

This life is molt folly.

Freeze, freeze, thou bitter sky,
That doft not bite fo nigh,

As benefits forgot:

The thou the waters warp,
Thy fting is not to tharp
As friend remembred not.
Heigh ho! fing, &c.

Duke Sen. If that you were the good Sir Rowland's Son,

As you have whisper'd faithfully you were,

And as mine eye doth his effigies witness,
Moft truly limn'd, and living in your face,
Be truly welcome hither. I'm the Duke,

That lov'd your Father The refidue of your fortune
Go to my cave and tell me. Good old Man,
Thou art right welcome, as thy master is.

-Support him by the arm; give me your hand,
And let me all your fortunes, understand.

[Exeunt.

ACT II.

SCENE

I.

N

The PALACE.

Enter Duke, Lords, and Oliver.

DUKE.

OT fee him fince ?-Sir, Sir, that cannot be

But were I not the better part made mercy,

I fhould not feek an abfent argument (3)

Of my revenge, the prefent: but look to it;

(3) An obfent argument--] An argument is ufed for the contents o a book, thence Shakespeare confidered it as meaning the subject, and then ufed it for fubject in yet another fenfe.

VOL. II.

M

Find

Find out thy brother, wherefoe'er he is ;
Seek him with candle; bring him dead or living,
Within this twelvemonth; or turn thou no more
To feek a living in our territory.

Thy lands and all things that thou doft call thine,
Worth feizure, do we feize into our hands;
"Till thou canft quit thee by thy brother's mouth,
Of what we think against thee.

Oli. Oh, that your highness knew my heart in this : I never lov'd my brother in my life.

Duke. More villain thou.

doors;

Well-Push him out of

And let my officers of fuch a nature

Make an Extent upon his house and lands:

Do this expediently (4), and turn him going. [Exeunt.

SCENE H.

Changes to the FOREST.

Enter Orlando.

Orla. HANG there, my verse, in witnels of my

love;

And thou, thrice-crowned Queen of night, furvey (5), With thy chaite eye, from thy pale fphere above, Thy huntrefs' name that my full life doth fway. O Rojalind! thefe trees fhall be my books, And in their barks my thoughts I'll character ; That every eye, which in this Foreft looks, Shall fee thy virtue witness'd every where. Run, run, Orlando, carve on every tree,

'The fair, the chafte, and unexpreflive She (6). (Exit.

(4) Expediently.] This is, expeditiously.

(5) Thrice-crowned Queen of night,] Alluding to the triple character of Proferpine, Cynthia, and Diana, given by fome Mythologifts to the fame Goddefs, and comprifed in thefe memorial lines: Terret, luftrat, agit, Proferpina, Luna, Diana, Ima, fuperna, feras, fceptro, fulgore, fagittis. (6) Unexpreffive, for inexpreffible.

SCENE

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