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Duke F. You shall try but one fall.
Cha. No, I warrant your grace; you shall not entreat him to a second, that have so mightily persuaded him from a first.
Orl. You mean to mock me after; you should not have mocked me before: but come your ways.
Ros. Now, Hercules be thy speed, young man!
Cel. I would I were invisible, to catch the strong fellow by the leg.
[CHA. and ORL, wrestle. Ros. O excellent young man!
Cel. If I had a thunderbolt in mine eye, I can tell who should down.
[Cha, is thrown. Shout, Duke F. No more, no more.
Orl. Yes, I beseech your grace; I am not yet well breathed.
Duke F. How dost thou, Charles?
Duke F. Bear him away. [CHA. is borne out.] What is thy name, young man?
Orl. Orlando, my liege; the youngest son of sir Rowland de Bois. Duke F. I would, thou hadst been son to some man
[Exeunt Duke FRED. Train, and LE BEAU. Cel. Were I my father, coz, would I do this?
Orl. I am more proud to be sir Rowland's son, His youngest son;5—and would not change that calling, 6 To be adopted heir to Frederick.
Ros. My father lov'd sir Rowland as his soul,
5 His youngest son ;] The words “than to be descended from any other house, however high,” must be understood. Orlando is replying to the duke, who is just gone out, and had said
“ Thou should'st have better pleas'd me with this deed,
“ Hadst thou descended from another house." Malone. 6 that calling,] i. e. appellation; a very unusual, if not unprecedented sense of the word. Steevens.
And all the world was of my father's mind:
[Giving him a chain from her neck. Wear this for me; one out of suits with fortune;8 That could give more, but that her hand lacks means. Shall we go, coz? Cel.
Ay:-Fare you well, fair gentleman. Orl. Can I not say, I thank you? My better parts Are all thrown down; and that which here stands up, Is but a quintain, a mere lifeless block.9
as you have exceeded promise,] The old copy, without regard to the measure, reads-all promise. Steevens.
one out of suits with fortune ;] This seems an allusion to cards, where he that has no more cards to play of any particular sort, is out of suit. Johnson.
Out of suits with fortune, I believe, means, turned out of her service, and stripped of her livery. Steevens.
So afterwards, Celia says, “ -- but turning these jests out of service, let us talk in good earnest.” Malone.
9 Is but a quintain, a mere lifeless block.) A quintain was a post or butt set up for several kinds of martial exercises, against which they threw their darts and exercised their arms. The allusion is beautiful. I am, says Orlando, only a quintain, a lifeless block on which love only exercises his arms in jest, the great disparity of condition between Rosalind and me, not suffering me to hope that love will ever make a serious matter of it. The famous satirist Regnier, who lived about the time of our author, uses the same me. taphor, on the same subject, though the thought be different:
“ Et qui depuis dix ans jusqu'en ses derniers jours,
« Elle” &c. Warburton. This is but an imperfect (to call it no worse) explanation of a beautiful passage.
The quintain was not the object of the darts and arms: it was a stake driven into a field, upon which were
Ros. He calls us back: My pride fell with my for
Will you go, coz?
[Exeunt Ros. and CEL. Orl. What passion hangs these weights upon my
Re-enter Le BzAv.
Le Beau. Good sir, I do in friendship counsel you
hung a shield and other trophies of war, at which they shot, darted, or rode, with a lance. When the shield and the trophies were all thrown down, the quintain remained. Without this information how could the reader understand the allusion of
- My better parts
Are all thrown down? Guthrie. Mr. Malone has disputed the propriety of Mr. Guthrie's animadversions; and Mr. Douce is equally dissatisfied with those of Mr. Malone.
The phalanx of our auxiliaries, as well as their circumstanti. ality, is so much increased, that we are often led (as Hamlet observes) to
fight for a spot “ Whereon the numbers cannot try the cause." The present strictures, therefore, of Mr. Malone and Mr. Douce, (which are too valuable to be omitted, and too ample to find their place under the text of our author) must appear at the conclusion of the play. Steevens.
For a more particular description of a quintain, see a note on a passage in Jonson's Underwoods, Whalley's edit. Vol. VII, p. 55.
M. Mason. A humorous description of this amusement may also be read in Laneham's Letter from “ Killingworth Castle.” Henley.
the duke's condition,] The word condition means character, temper, disposition. So, Antonio, the merchant of Venice, is called by his friend the best condition'd man. Johnson.
The duke is humorous; what he is, indeed,
Orl. I thank you, sir: and, pray you, tell me this;
[Exit LE BEAU.
-than me to speak of.] The old copy has—than I. Cor. rected by Mr. Rowe. Malone.
- the shorter -] Thus Mr. Pope. The old copy readsthe taller. Mr. Malone-the smaller. Steevens.
Some change is absolutely necessary, for Rosalind, in a subsequent scene, expressly says that she is “more than common tall,” and assigns that as a reason for her assuming the dress of a man, while her cousin Celia retained her female apparel. Again, in Act IV, sc. iii, Celia is described by these words---" the woman low, and browner than her brother;" i. e. Rosalind. Mr. Pope reads—“the shorter is his daughter;" which has been admitted in all the subsequent editions: but surely shorter and taller could never have been confounded by either the eye or the ear. The present emendation, it is hoped, has a preferable claim to a place in the text, as being much nearer to the corrupted reading.
Malone. Shakspeare sometimes speaks of little women, but I do not recollect that he or any other writer, has mentioned small ones. Otherwise, Mr. Malone's conjecture should have found a place in our text. Steevens.
in a better world than this,] So, in Coriolanus, Act III, sc. iii: “ There is a world elsewhere.” Steevens.
Thus must I from the smoke into the smother;
Enter CELIA and ROSALIND. Cel. Why, cousin; why, Rosalind;-Capid have mercy! -Not a word?
Ros. Not one to throw at a dog.
Cel. No, thy words are too precious to be cast away upon curs, throw some of them at me; come, lame me with reasons.
Ros. Then there were two cousins laid up; when the one should be lamed with reasons, and the other mad without any
Cel. But is all this for your father?
Ros. No, some of it is for my child's father:5 O, how full of briars is this working-day world!
Cel. They are but burš, cousin, thrown upon thee in holiday foolery; if we walk not in the trodden paths, our very petticoats will catch them.
Ros. I could shake them off my coat; these burs are in my heart.
Cel. Hem them away.
Ros. O, they take the part of a better wrestler than myself.
Cel. O, a good wish upon you! you will try in time, in despite of a fall. But, turning these jests out of service, let us talk in good earnest: Is it possible, on such a sudden, you should fall into so strong a liking with old sir Rowland's youngest son?
Ros. The duke my father lov'd his father dearly.
Cel. Doth it therefore ensue, that you should love his son dearly? By this kind of chase, I should hate him,
5 — for my child's father :) i. e. for him whom I hope to marry, and have children by. Theobald.
6 By this kind of chase,] That is, by this way of following the argument. Dear is used by Shakspeare in a double sense for