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But upon the faireft boughs,

Or at every sentence end,
Will I Rosalinda write;

Teaching all, that read, to know,
This quintessence of every Sprite

Heaven would in little loow.
Therefore heaven nature chargid,

I bat one body should be filld
With all graces wide enlarg’d:

Nature presently distilld
Helen's cheeks, but not her heart;

Cleopatra's majesty;
Atalanta's better part;

+ Sad Lucretia's modesty.
Thus Rosalind of many parts

By heavenly fynod was devis'd;

3

Therefore heaven nature charg'd.] From the pi&ture of Apels les, or the accomplishments of Pandora.

Πανδώρην, ότι σάνθει ολύμπια δώματ' έχονίες

Δώρον έδώρησαν.-
So before,

But thou
So perfea, and fo peerless art created

Of ev'ry creature's beft. Tempeft.
Perhaps from this passage Swift had his hint of Biddy Floyd.

JOHNSON, 3 Atalanta's better part.] I know not well what could be the better part of Atalanta here ascribed to Rosalind. Of the Atalanta molt celebrated, and who therefore must be intended here where she has no epithet of discrimination, the better part seems to have been her heels, and the worse part was so bad that Rosalind would not thank her lover for the comparison. There is a more obscure Atalanta, a huntress and a heroine, but of her nothing bad is recorded, and therefore I know not which was the better part. Shakespeare was no despicable mythologist, yet he seems bere to have mistaken some other character for that of Ata. Janta. Johnson. Sad) is grave, fober, not light. JOHNSON,

Of

Of many faces, eyes, and bearts,

To bave the touchess deareft priz'd. Heaven would that she these gifts spould have,

And I to live and die ber llave.

Rol. O most gentle Jupiter what tedious homily of love have you wearied your parishioners withal, and never cry'd, Have patience, good people !

Cel. How now! back-friends !-- shepherd, go off a little :-go with him, firrah.

Clo. Come, shepherd, let us make an honourable retreat; tho'not with bag and baggage, yet with scrip and scrippage.

[Exit Corin and Clown. Cel. Didit thou hear these verses?

Rof. O yes, I heard them all, and more too; for fome of them had in them more feet than the verses would bear.

Cel. That's no matter; the feet might bear the verses.

Rof. Ay, but the feet were lame, and could not bear themselves without the verse, and therefore ftood lamely in the verse.

Cel. But didst thou hear, without wondring how thy name should be hang'd and carv'd

and carv'd upon these trees?

Rof. I was seven of the nine days out of wonder, before you came ; for, look here, what I found on a palm-tree: 'I was never so be-rhimed Gnce Pytha

goras's

s The touches.] The features ; les traits. Johnsok.

I was never fo be-rhymed fince Pythagoras's time, that I was an Irish rat.] Rosalind is a very learned lady. She alludes to the Pythagorean doctrine, which teaches that fouls transmigrate from one animal to another, and relates that in his time she was an Irish rat, and by fome metrical charm was rhymed to death. The power of killing rats with rhymes Donne mentions in his Satires, and Temple in his Treatises. Dr. Gray has produced a fimilar paslage from Randolph.

-My

goras's time, that I was an Irish rat, which I can hardly remember.

Cel. Trow you, who hath done this?
Rof. Is it a man?

Cel. And a chain, that you once wore, about his neck : change you colour?

Ref I proythee, who?

Cel. O Lord, Lord ! it is a hard matter for friends to meet; but mountains may be remov'd with earthquakes, and so encounter.

Rof. Nay, but who is it?
Cel. Is it possible?

Rof. Nay, I pry'thee now, with most petitionary vehemence, tell me who it is.

Cel. O wonderful, wonderful, and most wonderful wonderful, and yet again wonderful, and after that out of all whooping

Rof. ? Good my complexion ! dost thou think, though I am caparison'd like a man, I have a double and hose in my disposition ? 'One inch of delay more

is
-My poets
Sball with a jaytire fleeped in vinegar
Rbyme them to death as they do rats in Ireland.

JOHNSON. So in Dr. Dodypoll, a comedy, 1600: “ -he rhyme de grand rats from my house."

STEVENS. ? Good my complexion!] This is a mode of expreffon, Mr. Theobald says, which be cannot reconcile to common sense. Like enough: and fo too the Oxford editor. But the meaning is, Hold good my complexion, i. e. let me not blush. WARBURTON.

8 One inch of delay more is a South-sea of discovery.] This is Mark nonsense ; we must read-off discovery, i. e. from discovery. If you delay me one inch of time longer, I shall think “ this secret as far from discovery as the Scuib-fia is.”

WARBURTON. This sentence is rightly noted by the commentator as nonsense, but nos lo happily restored to sense. I read thus :

One

is a South-sea of discovery. I pr’ythee, tell me, who is it: quickly, and speak apace. I would thou couldft stammer, that thou might’it pour this concealed man out of thy mouth, as wine comes out of a narrowmouth'd bottle; either too much at once, or none at all. I prythee take the cork out of thy mouch, that I may drink thy tidings.

Cel. So you may put a man in your belly.

Ros. Is he of God's making? What manner of man? Is his head worth a hat, or his chin worth a beard?

Cel. Nay, he hath but a little beard.

Ref. Why, God will send more, if the man will be thankful: let me stay the growth of his beard, if thou delay me not the knowledge of his chin.

Cel. It is young Orlando, that tripp'd up the wrest. ler's heels, and your heart, both in an instant.

Rof. Nay, but the devil take mocking; speak, sad brow, and true maid.

Cel. I'faith, coz, 'tis he.
Rof. Orlando?
Cei. Orlando.

Rof. Alas the day! what shall I do with my doublet and hose! What did he, when thou saw'st him? What said he? How look'd he? Wherein went he? What makes he here ? Did he ask for me? Where

One ineb of delay more is a South-sea. Discover, I pr'ythee; tell me who is it quickly! - When the transcriber had once made discovery from discover, I, he easily put an article after Southsea. But it may be read with Aill less change, and with equal probability. Every inch of delay more is a South-sea discovery: Every delay, however short, is to me tedious and irksome as the longest voyage, as a voyage of discovery on the Soutb-fra. How much voyages to the South-sea, on which the English had then firft ventured, engaged the conversation of that time, may be cafily imagined. Johnson,

remains he? How parted he with thee? and when Thalt thou see him again ? Answer me in one word.

Cel. You must borrow me Garagantua's ' mouth first; 'tis a word too great for any mouth of this age's faze. To say, ay, and no, to these particulars, is more than to answer in a catechifm.

Rof. But doth he know that I'am in this forest, and in man's apparel ? Looks he as freshly as he did the day he wrestled ?

Cel. It is as easy to count atoms, as to resolve the propofitions of a lover :-but take a taste of my finding him, and relish it with good observance. I found him under a tree like a dropp'd acorn.'

Rof. It may well be callid Jove's tree, when it drops forth such fruit.

Cel. Give me audience, good madam.
Rof. Proceed.

Cel. There lay he, stretch'd along, like a wounded knight.

Roj. Tho'it be pity to see such a sight, it well becomes the ground.

Cel. Cry, holla! to thy tongue, I pr’ythee; it curvets unseasonably. He was furnish'd like a hunter.

Ref. Oh, ominous ! he comes to kill my heart. .

Cel. I would sing my song without a burden: chou bring'st me out of tune.

9-Garagantua's mouth.] Rosalind requires nine questions to be answered in one word. Celia tells her that a word of such magnitude is too big for any mouth but that of Garagantua the giant of Rabelais. Johnson.

1.- I found him under a tree like a dropp'd acorr.) We should read,

Under an AN OAK tree. This appears from what follows like a dropped acorn. For how did he look like a dropp'd acorn unless he was found under an oak tree. And from Rosalind's reply, that it might well be called foue's true : for the oak was sacred to jove. WARBURTON. What tree but an oak was ever known to drop an acorn?

STEEVENS.

ROS.

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