Ros. Love is merely a madness; and, I tell you, deserves as well a dark house and a whip as madmen do: and the reason why they are not so punished and cured is, that the lunacy is so ordinary, that the whippers are in love too. Yet I profess curing it by counsel.

Orl. Did you ever cure any so?

He was to imagine

Ros. Yes, one; and in this manner. me his love, his mistress; and I set him every day to woo me: at which time would I, being but a moonish youth, grieve, be effeminate, changeable, longing, and liking; proud, fantastical, apish, shallow, inconstant, full of tears, full of smiles; for every passion something, and for no passion truly any thing, as boys and women are for the most part cattle of this colour : would now like him, now loathe him; then entertain him, then forswear him; now weep for him, then spit at him; that I drave my suitor from his mad humour of love to a loving humour of madness;(90) which was, to forswear the full stream of the world, and to live in a nook merely monastic. And thus I cured him; and this way will I take upon me to wash your liver as clean as a sound sheep's heart, that there shall not be one spot of love in't.

Orl. I would not be cured, youth.

Ros. I would cure you, if you would but call me Rosalind, and come every day to my cote and woo me.

Orl. Now, by the faith of my love, I will: tell me where it is.

Ros. Go with me to it, and I'll show it you: and, by the way, you shall tell me where in the forest you live. Will you go?

Orl. With all my heart, good youth.

Ros. Nay, you must call me Rosalind.-Come, sister, will

you go?

[Exeunt.

SCENE III. Another part of the forest.

Enter TOUCHSTONE and AUDREY; JAQUES behind.

Touch. Come apace, good Audrey: I will fetch up your goats, Audrey. And how, Audrey? am I the man yet? doth my simple feature content you?

Aud. Your features! Lord warrant us! what features ?(91) Touch. I am here with thee and thy goats, as the most capricious poet, honest Ovid, was among the Goths.

Jaq. [aside] O knowledge ill-inhabited,-worse than Jove

in a thatched house!

Touch. When a man's verses cannot be understood, nor a man's good wit seconded with the forward child, understanding, it strikes a man more dead than a great reckoning in a little room.-Truly, I would the gods had made thee poetical.

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

Touch. No, truly; for the truest poetry is the most feigning; and lovers are given to poetry; and what they swear in poetry, may(92) be said, as lovers, they do feign.

Aud. Do you wish, then, that the gods had made me poetical?

Touch. I do, truly; for thou swearest to me thou art honest: now, if thou wert a poet, I might have some hope thou didst feign.

Aud. Would you not have me honest?

Touch. No, truly, unless thou wert hard-favoured; for honesty coupled to beauty is to have honey a sauce to sugar. Jaq. [aside] A material fool!

Aud. Well, I am not fair; and therefore I pray the gods make me honest.

Touch. Truly, and to cast away honesty upon a foul slut, were to put good meat into an unclean dish.

Aud. I am not a slut, though I thank the gods I am foul. Touch. Well, praised be the gods for thy foulness! sluttishness may come hereafter. But be it as it may be, I will marry thee and to that end I have been with Sir Oliver Martext, the vicar of the next village; who hath promised to meet me in this place of the forest, and to couple us. Jaq. [aside] I would fain see this meeting.

Aud. Well, the gods give us joy!

Touch. Amen. A man may, if he were of a fearful heart, stagger in this attempt; for here we have no temple but the wood, no assembly but horn-beasts. (93) But what though? Courage! As horns are odious, they are necessary. It is

said, "Many a man knows no end of his goods:" right; many a man has good horns, and knows no end of them. Well, that is the dowry of his wife; 'tis none of his own getting. Horns? ever to poor men alone ?(94) No, no; the noblest deer hath them as huge as the rascal. Is the single man therefore blessed? No: as a walled town is more worthier than a village, so is the forehead of a married man more honourable than the bare brow of a bachelor; and by how much defence is better than no skill, by so much is a horn more precious than to want.-Here comes Sir Oliver.

Enter SIR OLIVER MARTEXT.

Sir Oliver Martext, you are well met: will you dispatch us
here under this tree, or shall we go with you to your chapel?
Sir Oli. Is there none here to give the woman?
Touch. I will not take her on gift of any man.

Sir Oli. Truly, she must be given, or the marriage is not lawful.

Jaq. [coming forward] Proceed, proceed: I'll give her.

Touch. Good even, good Master What-ye-call't: how do you, sir? You are very well met: God ild you for your last company: I am very glad to see you:-even a toy in hand here, sir:-nay, pray be covered.

Jaq. Will you be married, motley?

Touch. As the ox hath his bow, sir, the horse his curb, and the falcon her bells, so man hath his desires; and as pigeons bill, so wedlock would be nibbling.

Jaq. And will you, being a man of your breeding, be married under a bush, like a beggar? Get you to church, and have a good priest that can tell you what marriage is: this fellow will but join you together as they join wainscot; then one of you will prove a shrunk panel, and like green timber warp, warp.

Touch. [aside] I am not in the mind but I were better to be married of him than of another: for he is not like to marry me well; and not being well married, it will be a good excuse for me hereafter to leave my wife.

Jaq. Go thou with me, and let me counsel thee.
Touch. Come, sweet Audrey:

We must be married, or we must live in bawdry.—

Farewell, good Master Oliver :-not,

but,

O sweet Oliver,*

O brave Oliver,

Leave me not behind thee;

Wind away,

Be gone,

I say,

I will not to wedding with thee.(95)

[Exeunt Jaques, Touchstone, and Audrey.

Sir Oli. 'Tis no matter: ne'er a fantastical knave of them all shall flout me out of my calling.

[Exit.

SCENE IV. Another part of the forest. Before a cottage.

Enter ROSALIND and CELIA.

Ros. Never talk to me; I will weep.

Cel. Do, I prithee; but yet have the grace to consider that tears do not become a man.

Ros. But have I not cause to weep?

Cel. As good cause as one would desire; therefore weep.
Ros. His very hair is of the dissembling colour.

Cel. Something browner than Judas's: marry, his kisses are Judas's own children.

Ros. I' faith, his hair is of a good colour.

Cel. An excellent colour: your chestnut was ever the only colour.

Ros. And his kissing(96) is as full of sanctity as the touch of holy bread.

Cel. He hath bought a pair of cast lips of Diana: a nun of winter's sisterhood kisses not more religiously; the very ice of chastity is in them.

Ros. But why did he swear he would come this morning, and comes not?

* O sweet Oliver, &c.] Fragments (perhaps somewhat altered) of a ballad now lost." In the books of the Stationers' Company, Aug. 6, 1584, was entered, by Richard Jones, the ballad of 'O swete Olyver, Leave me not behind thee.' Again [on the 20th of the same month], 'The answeare of ( sweete Olyver.' Again [on the 1st of August], in 1586, 'O swete Olyver, altered to [by] the Scriptures."" STEEVENS.

Cel. Nay, certainly, there is no truth in him.

Ros. Do you think so?

Cel. Yes; I think he is not a pick-purse nor a horsestealer; but for his verity in love, I do think him as concave as a covered goblet or a worm-eaten nut.

Ros. Not true in love?

Cel. Yes, when he is in; but I think he is not in.

Ros. You have heard him swear downright he was.

Cel. "Was" is not "is:" besides, the oath of a(97) lover is no stronger than the word of a tapster; they are both the confirmers(98) of false reckonings. He attends here in the forest on the duke your father.

Ros. I met the duke yesterday, and had much question with him he asked me, of what parentage I was; I told him, of as good as he; so he laughed, and let me go. But what talk we of fathers, when there is such a man as Orlando?

Cel. O, that's a brave man! he writes brave verses, speaks brave words, swears brave oaths, and breaks them bravely, quite traverse, athwart the heart of his lover; as a puny tilter, that spurs his horse but on one side, breaks his staff like a noble goose:(99) but all's brave that youth mounts and folly guides.-Who comes here?

Enter CORIN.

Cor. Mistress and master, you have oft inquir'd After the shepherd that complain'd of love,

Who you saw sitting by me on the turf,

Praising the proud disdainful shepherdess
That was his mistress.

Cel.

Well, and what of him?

Cor. If you will see a pageant truly play'd,
Between the pale complexion of true love
And the red glow of scorn and proud disdain,
Go hence a little, and I shall conduct you,
If you will mark it.

Ros.

O, come, let us remove:

The sight of lovers feedeth those in love.—

Bring us to see this sight,(100) and you shall say
I'll prove a busy actor in their play.

[Exeunt.