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Orla. I will chide no breather in the world but myfelf, again't whom I know molt faults.

faq. The worlt fault you, haye, is to be in love.

Orla. 'Tis a fault I will not change for your beft virtue. I am weary of you.

Jaq. By my troth, I was feeking for a fool, when I found you.

Orla. He is drown'd in the brook look but in, and you shall see him.

Jaq. There I fhall fee mine own figure....

Orla. Which I take to be either a fool, or a cypher. Jaq. Il ftay no longer with you ;-farewell, good Signior love! [Exit.

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Orla. I am glad of your departure; adieu, good Monfieur melancholy ! [Cel. and Rof. come forward. Rof. I will fpeak to him like a fawcy lacquey, and under that habit play the knave with him

hear, forefter ?

Orla. Very well; what would you?

Rof. I

pray you what is't a clock?

Do you

Orla. You should ask me, what time o'day; there's no clock in the Forest.

Rof. Then there is no true lover in the Foreft.; elfe, fighing every minute, and groaning every hour, would detect the lazy foot of time, as well as a clock.

Orla. And why not the fwift foot of time? had not that been as proper ?,

Rof. By no means, Sir time travels in divers paces, with civers perfons; I'll tell you whom time ambles withal, whom time trots withal, whom time gallops withal, and whom he ftands still withal.

Orla. I pr'ythee, whom doth he trot withal?

Rof. Marry, he trots hard with a young maid, between the contract of her marriage, and the day it is folemniz'd: if the interim be but a fe'nnight, times pace is fo hard that it feems the length of seven years. Orla. Who ambles time withal?

Rof. With a priest that lacks Latin, and a rich man that hath not the gout; for the one leeps eafily, be

caufe

cause he cannot ftudy; and the other lives merrily, because he feels no pain: the one lacking the burden of lean and wasteful learning; the other knowing no burden of heavy tedious penury. These time ambles withal

Orla. Whom doth he gallop withal ?

Rof. With a thief to the gallows for though he go as foftly as foot can fall, he thinks himself too foon there.

"Orla. Whom stays it ftill withal?

Ref. With lawyers in the vacation; for they fleep between term and term, and then they perceive not how time moves

Orla. Where dwell you, pretty youth?

Rof. With this fhepherdefs, my fifter; here in the fkirts of the foreft, like fringe upon a petticoat. Orla. Are you native of this place?

Ref. As the cony, that you fee dwell where the is kindled.

Orla. Your accent is fomething finer, than you could purchase in fo removed a dwelling.

*

Rof. I have been told fo of many; but, indeed, an old religious Uncle of mine taught me to fpeak, who was in his youth an in-land man, one that knew courtfhip too well for there he fell in love. I have heard him read many lectures against it; I thank God, I am not a woman, to be touch'd with to many giddy offences as he hath generally tax'd their whole fex withal.

Orla. Can you remember any of the principal evils, that he laid to the charge of women?

Rof. There were none principal, they were all like one another, as half-pence are; every one fault feeming monftrous, till his fellow fault came to match it:Orla. I pr'ythee, recount fome of them.

Rof. No; I will not caft away my phyfick, but on those that are fick. There is a man haunts the Foreft, that abuses our young Plants with carving Rofalind on their barks; hangs Odes upon hawthorns, and Elegies

* -inland man,] Is ufed.in this play for one civilifed, in oppofition to the ruftick of the priest. So Orlando before-Yet am I inland bred, and know some nurture.

מס

on brambles; all, forfooth deifying the name of Rofalind. If I could meet that fancy-monger, I would give him fome good counfel, for he feems to have the Quotidian of love upon him.

Orla. I am he, that is fo love-fhak'd; I pray you tell me your remedy.

Rof. There is none of my uncle's marks upon you, he taught me how to know a man in love; in which cage of rushes, I am fure, you are not prisoner.

Orla. What were his marks ?

Rof. A lean cheek, which you have not; a blue eye and funken, which you have not; an unquestionable fpirit (), which you have not; a beard neglected, which you have not; but I pardon you for that, for fimply your Having in beard is a younger Brother's revenue; then your hofe thould be ungarter'd, your bonnet unbanded, your leeve unbutton'd, your fhoe untied, and every thing about you demonftrating a carelels delolation. But you are no fuch man, you are Father point-de-vice in your accoutrements, as loving yourfelf, than feeming the lover of any other.

Orla. Fair youth, I would I could make thee believe I love.

that

Rof. Me believe it? you may as foon make her, you love believe it, which I warrant, fhe is apter to do, than to confefs the does; that is one of the points, in the which women ftill give the lye to their confciences. But, in good footh, are you he that hangs the Verfes on the trees, wherein Rofalind is fo admired?

Orla. I fwear to thee, youth, by the white hand of Rofalind, I am That he, that unfortunate he.

Rof. But are you fo much in love, as your rhimes speak?

(8) an unquestionable fpirit,] May it not mean unwilling to be converfed with ? Mr. CHAMIER.

-an ungu ftionable fpirit,] That is, a fpirit not inquifitive, a mind indifferent to common objects, and negligent of common occurrences. Here Shakespeare has used a paffive for an active mode of fpeech: fo in a former fcene, The Duke is too disputable for me, that is, too difputatious,

Orla

Orla. Neither rhime nor reafon can express how much.

Rof. Love is merely a madness, and, I tell you deferves as well a dark houfe and a whip, as mad men do and the reafon why they are not fo punithed and cured, is, that the lunacy is fo ordinary, that the whippers are in love too: yet I profefs curing it by

counfel.

He was to

Orla. Did you ever cure any fo? Rof. Yes, one, and in this manner. imagine me his love, his miftrefs,. and I fet him every day to wooe me: At which time. would I, being but a moonish-youth; grieve, be effeminate, changeable, longing, and liking; proud, fantastical, apifh, hallow, inconftant, full of tears, full of fmiles; for every paffion fomething, and for no paffion truly any thing, as boys and women are for the moft part cattle of this colour; would now like him, now loath him; then entertain him, then forfwear him; now weep for him, then spit at him; that I drave my fuitor from his mad humour of love, to a living humour.of..madness (9); which was, to forfwear the full ftream of the world, and to live in a nook meerly monaftick and thus I cur'd him, and this way will I take upon me to wath your liver as clear as a found fheep's heart, that there: fhall-not be one fpot of love in't.

- Orła. I would not be cur'd, youth.

;

Rof. I would cure you if you would but call me Rofalind, and come every day to my cote, and wooe me. Orla. Now, by the faith of my love, I will. Tell me where it is.

Rof. Go with me to it, and I will fhew it you; and,

(a —to a living humour of madness;] If this be the true reading we must by living understand lafting, or permanent, but I cannot forbear to think that fome antithefis was intended which is now loft; perhaps the paffage ftood thus, I drove my fuitor from a dying humour of love to a living humour of madness. Or rather thus, from a mad humour of love to a loving humour of madness, that is, from a madness that was love, to a love that was madness. This feems fomewhat harsh and ftrained, but fuch modes of fpeech are not naufual in our poet; and this harshness was probably the caufe of the corruption..

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by the way, you shall tell me where in the Foreft you live. Will you go

?

Orla. With all my heart, good youth.

Rof. Nay, nay, you must call me Rofalind-Come, fifter will you go [Exeunt.

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Enter Clown, Audrey and Jaques watching them. Clo. Come apace, good Audrey, I will fetch up your goats, Audrey; and now, Audrey, am I the man yet? doth my fimple feature content you ?.....

Aud Your features, Lord warrant us! what features?

Clo. I am here with thee and thy goats, as the most capricious poet honeft Ovid was among the Goths. Faq [afide] O knowledge ill-inhabited, worfe than Jove in a thatch'd house!

Clo. When a man's verfes cannot be understood, nor a man's good Wit feconded with the forward child, Underftanding; it ftrikes a man more dead than a great reckoning in a little room (1); truly, I would the Gods had made thee poetical.

Aud. I do not know what poetical is; is it honeft in deed and word? is it a true thing?

(1) it ftrikes a man more dead than a great reckoning in a little room] Nothing was ever wrote in higher humour, than this fimile. A great reckoning, in a little room, implies that the entertainment was mean, and the bill extravagant. The poet here alluded to the French proverbial phrafe of the quarter of hour of Rabelais: who faid, there was only one quarter of hour in human life paffed ill, and that was between the calling for the reckoning and paying it. Yet the delicacy of our Oxford Editor would correct this into, it firikes a man more dead than a great reeking in a little room This is amending with a vengeance. Whea men are joking together in a merry humour, all are difpofed to laugh. One of the company fays a good thing; the jeft is not taken; all are filent, and he who faid it quite confounded. This is compared to a tavern jollity interrupted by the coming in of a great reckoning. Had not Shakespeare reafon now in this cafe to apply his fimile, to his own cafe, againft his critical editor? Who, 'tis plain, taking the phrafe to frike dead in a literal fenfe, concluded, from his knowledge in philofophy, that it could not be fo effectually done by a reckoning as by a reeking.. WARBURTON.

Clai

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