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66 'Till that the very very means do ebb? " What woman in the city do I name, " When that I say, the city-woman bears " The cost of Princes on unworthy shoulders ? - Who can come in, and say, that I mean her ; " When such a one as she, such is her neighbour ? " Or what is he of baseft function, 66 That says, his bravery is not on my coft ; 65 Thinking, that I mean him; but therein sutes 6. His folly to the metal of my speech? 66 There then; how then? what then? let me fee

" wherein « My tongue hath wrong'd him; if it do him right, « Then he hath wrong'd himself; if he be free, " Why, then my taxing, like a wild goose, flies 66 Unclaim'd of any man. But who comes here?

S CE NE VIII.

Enter Orlando, with Sword drawn,
Orla. Forbear, and eat no more.
Jag. Why, I have eat none yet.
Orla. Nor shalt thou, 'till necessity be serv'd.
Faq. Of what kind should this Cock come of?
Duke Sen. Art thou thus bolden'd, man, by thy

distress?
Or elle a rude despiser of good manners,
That in civility thou seem'st so empty?
Orla. You touch'd my vein at first; the thorny

point
Of bare distress hath ta’en from me the shew
Of smooth civility; yet am I in-land bred,
And know fome nurture: but forbear, I lay:'
He dies, that touches any of this fruit,
'Till I and my affairs are answered.

Jag. If you will not
Be answered with reason, I must die,

Duke

Duke Sen. What would you have? Your gentleness

shall force, More than your force move us to gentleness.

Orla. I almost die for food, and let me have it. Duke Sen. Sit down and feed, and welcome to our

table. Orla. Speak you so gently? pardon me, I pray

you; I thought, that all things had been savage here; And therefore put I on the countenance Of stern commandment. But whate'er you are, . That in this desart inaccessible, • Under the shade of melancholy boughs, "s Lose and neglect the creeping hours of time;

If ever you have look'd on better days; • If ever been where bells have knoll'd to church; "If ever sate at any good man's feast;

If ever from your eyelids wip'd a tear,

And know what’ris to pity, and be pitied ;'
Let gentleness my strong enforcement be,
In the which hope I blush, and hide my sword.
Duke Sen. True is it, and that we have seen better

days;
And have with holy bell been knoll'd to church;
And sate at good men's feasts, and wip'd our eyes
Of drops, that facred pity had engender'd :
And therefore fit you down in gentleness,
And take upon command what help we have,
That to your wanting may be ministred.

Orla. Then but forbear your food a little while,
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 first fuffic'd,

5 Lose and negleEt the creeping hours of time ;]
Secretum iter & fallentis femita vitæ. Hor.
Y 4

Oppress’d

· His acts being leven

in the nurse's arms;..Gorchel,

Oppress’d with two weak evils, age and hunger,
I will not touch a bit.

Duke Sen. Go find him out, And we will nothing waste till you return. · Orla. I thank ye; and be bless?d for your good comfort!

[Exit. SC EN E IX. Duke Sen. Thou seest, we are not all alone unhappy: This wide and universal Theatre Presents more woful pageants, than the scene Wherein we play in.

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 seven ages. At first the infant, « Mewling and puking in the nurse's arms: 6 And then, the whining school-boy with his fatchel, . And shining morning-face, creeping like snail & Unwillingly to school. And then, the lover; • Sighing like furriace, with a woful ballad Made to his mistress' eye-brow. Then, a soldier;

Full of strange oaths, and bearded like the pard, 6 Jealous in honour, sudden and quick in quarrel;

Seeking the bubble reputation ( Even in the cannon's mouth. And then, the justice Ć In fair round belly, with good capon lin’d,

With eyes severe, and beard of formal cut, < 6 Full of wise saws and modern instances, 6 And so he plays his part. 7 The sixth age shifts 6 Into the lean and Nipper'd pantaloon,

- With 6 Full of wise Saws and modern instances,] It is remarkable that Shakespear uses modern in the double sense that the Greeks used xalios, both for recens and absurdus,

The sixth age shifts Into the lean and Nipper'd pantaloon,] There is a greater beauty than appears at first fight in this image. He is here com

W ith spectacles on nose, and pouch on side; - His youthful hose well fav’d, a world too wide

For his shrunk Thank; and his big manly voice,
5 Turning again toward childish treble, pipes,
6 And whistles in his found. Last Scene of all,

That ends this strange eventful History,
Is second childishness, and meer oblivion,
Sans teeth, fans eyes, sans taste, fans every thing,

S C Ε Ν Ε Χ.

Enter Orlando, with Adam. Duke Sen. Welcome: fet down your venerable . burden, And let him feed.

Orla. I thank you most for him.

Adam. So had you need, I scarce can speak to thank you for myself. Duke Sen. Welcome, fali to: I will not trouble

you,
As yet to question you about your fortunes.
Give us some musick; and, good cousin, sing,

SON G.
Blow, blow, thou winter wind,
Thou art not so unkind

As man's ingratitude ;
Thy tooth is not so keen,
8 Because thou art not seen,
Altho thy breath be rude.

Heigl paring human life to a flage play, of seven acts, (which was no unusual division before our author's time.) The fixth he calls the lean and Nipper'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 slippers.

8 Because thou art not seen] This song is designed to fuit the Duke's exiled condition, who had been ruined by ungrateful

flatterers,

Heigh bo! hing, beigh bo! unto the green bolly;
Most friendship is feigning; most loving meer folly :

Then beigh bo, the bolly!

This life is most jolly.
Freeze, freeze, thou bitter sky,
That dost not bite fo nigh

As benefits forgot :
Tho' thou the waters warp,
Tby sting is not so harp

As friend remembred not.
Heigh bo! Jing, &c.
Duke Sen. If that you were the good Sir Rowland's

Son, As you have whisper'd faithfully you were, flatterers. Now the winter wind, the song says, is to be preferr'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 secret, not seen, but was the very circumstance that made the keenness of the ingratitude of his faithless courtiers. Without doubt, Shakespear wrote the line thus,

Because thou art not sheen, 1. e. fmiling, shining, like an ungrateful court-servant, who flatters while he wounds, which was a very good reason for giving the winter wind the preference. So in the Midsummer's Night's Dream,

Spangled flar light shEEN, and several other places. Chaucer uses it in this sense,

Your blisful Jufter Lucina tbe shene. And Fairfax,

The sacred Angel took his Target shENE,

And by the Christian Champion stood unseen. The Oxford editor, who had this emendation communicated to him, takes occasion from thence to alter the whole line chus,

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.

And

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