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

SCENE IV.

A cottage in the foreft.

Enter Rosalind and Celia.
Roj. Never talk to me,I will weep.

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

Rof. 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.

Rof. l'faith, his hair is of a good colour. S

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

Ros. And his kissing is as full of sanctity, as the touch of holy beard.

The Clown dismifies fir Oliver only because Jaques had put him out of conceit with him, by alarming his pride and raising doubts, touching the validity of a marriage folemnized by one who appears only in the character of an itinerant preacher ; though he intends to have recourse to some other of more dignity in the fame profeffion. Dr. Johnfor's fuppofition, that the latter part of the Clown's speech is only a repetition from some other, or pere haps a different part of the fame ballad, is I believe righe.

STEEVENS. 5 l'faith, his hair is of a good colur.] There is much of nature in this petty perverseness of Rosalind; she finds faults in her lover, in hope to be contradicted, and when Celia in sportive malice too readily seconds her accusations, the contradicts herself rather than fuffer her favourite to want a vindication. Johnson.

-as the touch of holy bread.) We should read beard, that is, as the kiss of an holy saint or hermit, called the kils of charity : This makes the comparison just and decent; the other impious and absurd. WARBURTON.

Cel.

Cel. He hath bought a pair of caft lips of Diana: a nyn of winter's listerhood 7 kifles not more reli. giously; the very ice of chastity is in them.

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

Cel. Nay certainly, there is no truth in him.
Rof. Do you think so?

Cel. Yes. I think he is not a pick-purse nor a horse-stealer ; but for his verity in love, I do think him as concave as a cover'd goblet, 8 or a worm-eaten nut.

Rof. Not true in love ?
Cel. Yes, when he is in ; but, I think, he is not in.
Ref. You have heard him swear downright, he was.
Cel. Was, is not is: besides, the oath of a lover is

7

a nun of winter's fijferhood] This is finely expressed. But Mr. Theobald says, the words give bim no ideas. And 'ris certain, that words will never give men what nature has denied them. However, to mend the matter, he substitutes Winifred fifterbod. And, after so happy a thought, it was to no purpose to tell him there was no religious order of that denomination. The plain truth is, Shakespeare meant an unfruitful fierhood, which had devoted itself to chastity. For as those who were of the fiftere hood of the spring were the votaries of Venus ; those of summer, the votaries of Ceres ; those of autumn, of Pomona : so there of the fifferhood of winter were the votaries of Diana : called, of uirter, because that quarter is not, like the other three, productive of fruit or increase. On this account it is, that when the phet speaks of what is most poor, he initances in winter, in these fine lines of Othello,

But richis endlefs is as poor as winter

To him that ever fears he shall be poor. The other property of winter that made him term them of its fifterhood is its coldness. So in Midsummer Night's Dream,

To be a barren fifter all your life,
Chanting faint bymns to the cold fruitless macn.

WARBURTON. -as concave as a cover'd goblet,] Why a cover'd? Because a goblet is never kept cover'd but when empty. Shakespeare never throws out his expresfions at random.

WARBURTON.

no

no stronger than the word of a tapster ; they are both the confirmers of false reckonings. He attends here in the forest on the Duke your father.

Rof. 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: fo he laughd, 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 travers, athwart' the heart of his lover ; as a puny tilter, that spurs his horse but one side, breaks his staff like a noble goose : but all's brave, that youth mounts, and folly guides : Who comes here?

- quite travers, athwart, &c.] An unexperienced lover is here compared to a puny tilter, to whom it was a disgrace to have his lance broken across, as it was a mark either of want of courage or address. This happened when the horse flew on one side, in the career : and hence, I suppose, arose the jocular proverbial phrase of Spurring the horse only on on fide. Now as breaking the lance againit bis adversary's breadt, in a direct line, was honourable, so the breaking it acress against his breast was, for the reason above, dishonourable: hence it is, thai Sidney, in his Ascadia, speaking of the mock-combat of Clinias and Dametas says, The wind took ruch hold of his foff that it croit quite over his breast, &e. And to break across was the usual phrase, as appears from some wretched verses of the same author, speaking of an un. filful tilter,

Mbought fomflavis be mi?: if h, not much amifs :
For wherbt mifi did hit. be ever yet did mil,

One fard be brake across, full well it jo niigbe bi, &c. This is the allusion. So that Orlando, a young gallant, affecting the fashion (tor brave is here used, as in other places, for faThionable) is represented either urskilful in courtship, or timorous. The lover's meeting or appointment corresponds to the tilter's career; and as the one breaks faves, the other breaks oaths. The business is only meeting fairly, and doing both with address: and 'ris for the want of this, that Orlando is blamed.

WARBURTON.

Enter

Enter Corin. Cor. Mistress, and master, you have oft enquired After the shepherd that complain'd of love ; Whom 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.

Rof. Come, let us remove ; The fight of lovers feedeth those in love: Bring us but to this sight, and you shall say l'll prove a busy actor in their play. [Exeunt.

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Changes to another part of the forest.

Enter Silvius and Phebe. Sil. Sweet Phebe, do not scorn me ;-do not,

Phebe :-
Say, that you love me not; but say not so
In bitterness: The common executioner,
Whose heart the accustom'd fight of death makes

hard,
Falls not the ax upon the humbled neck,
But first begs pardon : Will you sterner be'
Than he that dies and lives by bloody drops ?

Enter

1

-will you fterner b', Than he that dies and lives by bloody drops?] This is spoken of the executioner. He lives indeed by bloody drops, if will : but how does he die by bloody drops? The poet must certainly have wrote har deals and lives, &c. i. e. that

you

gets

Enter Rosalind, Celia, and Corin.
Phe. I would not be thy executioner;
I Ay thee, for I would not injure thee.

Thou

gets his bread by, and makes a trade of cutting off heads : but the Oxford editor makes it plainer. He reads, Than barbat lives and i brivesty bloody drops.

WARBURTON Either Dr. Warburton's emendation, except that the word ceals, wants its proper construction, or that of fir T. Hanmer may serve the purpose; but I believe they have fixed corruption upon the wrong word, and should rather read,

Than he that dies his lips by bloody drops? Will you speak with more sternness than the executioner, whose lips are used to be sprinkled with blood : The mention of drops im. plies fome part that must be sprinkled rather than dipped.

JOHNSON. I am afraid our bard is at his quibbles again. To dye means as well to dip a ibing in a colour foreign to its own, as to expire. In this sense, contemptible as it is, the executioner may be faid to die as well as live by bloody dreps. Shakespeare is fond of opposing these words to each other. In K. John is a play on words not unlike this.

-all with purpled hands Dy'd in the dying Naughter of their foes. Camden has preserved an epitaph on a dyer, which has the fame play on words;

• He that dyed so oft in sport,

L'yed at last, no colour for't."
So Heywood, in his epigrams, 1562.

“ Is thy husband a dyer, woman? alack,
“ Had he no colour to dye thee on but black?
Dieth he oft ? yea, too oft when customers call.
" But I would have him one day die once for all.
“ Were he gone, dyer never more would I wed,

Dyers be ever dying, but never dead." So Puttenham, in his Art of Poetry, 1589:

“We once sported upon a country fellow, who came to run for " the best game, and was by his occupation a dyer, and had very “ big swelling legs.

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