the most pathetical14 break promise, and the most hollow lover, and the most unworthy of her you call Rosalind, that may be chosen out of the gross band of the unfaithful: therefore beware my censure, and keep your promise. Orl. With no less religion, than if thou wert indeed my Rosalind: So, adieu. Ros. Well, time is the old justice that examines all such offenders, and let time try: Adieu! [Exit ORLANDO. Cel. You have simply misus'd our sex in your love-prate we must have your doublet and hose pluck'd over your head, and show the world what the bird hath done to her own nest 15. Ros. O coz, coz, coz, my pretty little coz, that thou didst know how many fathom deep I am in love! But it cannot be sounded; my affection hath an unknown bottom, like the bay of Portugal. Cel. Or rather, bottomless; that as fast as you pour affection in, it runs out. Ros. No, that same wicked bastard of Venus, that was begot of thought, conceived of spleen, and born of madness; that blind rascally boy, that abuses every one's eyes, because his own are out, let him be judge, how deep I am in love:-I'll tell thee, Aliena, I cannot be out of the sight of Orlando: I'll go find a shadow 16, and sigh till he come. Cel. And I'll sleep. [Exeunt. 14 Pathetical and passionate were used in the same sense in Shakspeare's time. Whether Rosalind has any more meaning than Costard in the use of the word when he calls Armado's boy' a most pathetical nit,' I leave the reader to judge. 15 This is borrowed from Lodge's Rosalynd. 16 So in Macbeth : 'Let us seek out some desolate shade, and there SCENE II. Another part of the Forest. Enter JAQUES and Lords, in the habit of Foresters. Jaq. Which is he that kill'd the deer? 1 Lord. Sir, it was I. Jaq. Let's present him to the duke, like a Roman conqueror; and it would do well to set the deer's horns upon his head, for a branch of victory:Have you no song, forester, for this purpose? 2 Lord. Yes, sir. Jaq. Sing it; 'tis no matter how it be in tune, so it make noise enough. SONG, 1. What shall he have that kill'd the deer? 2. His leather skin, and horns to wear. 1. Then sing him home: Take thou no scorn, to wear the horn ;)The rest shall It was a crest ere thou wast born; 1. Thy father's father wore it ;) 2. And thy father bore it: All. The horn, the horn, the lusty horn, Is not a thing to laugh to scorn 17. SCENE III. The Forest. Enter ROSALIND and CELIA. bear this bur [Exeunt. Ros. How say you now? Is it not past two o'clock? and here much Orlando 18! 17 In Playford's Musical Companion, 1673, where this song is set to music by John Hilton, the words 'Then sing him home' are omitted, and it should be remarked that, in the old copy, these words, and those which have been regarded by the editors as a stage direction, are given in one line. 18 i. e. here is no Orlando. Much was a common ironical expression of doubt or suspicion, still used by the vulgar in the same sense; as, much of that!' 6 Cel. I warrant you, with pure love, and troubled brain, he hath ta'en his bow and arrows, and is gone forth to sleep: Look, who comes here. Enter SILVIUS. Sil. My errand is to you, fair youth:My gentle Phebe, bid me give you this: [Giving a letter. guess, I know not the contents; but as I I am but as a guiltless messenger. Ros. Patience herself would startle at this letter, And play the swaggerer; bear this, bear all: She says, I am not fair; that I lack manners; She calls me proud; and, that she could not love me Were man as rare as phoenix: Od's my will! Her love is not the hare that I do hunt: Why writes she so to me?-Well, shepherd, well, This is a letter of your own device. Sil. No, I protest, I know not the contents; Phebe did write it 19. Ros. Come, come, you are a fool, And turn'd into the extremity of love. I saw her hand: she has a leathern hand, A freestone-colour'd hand; I verily did think That her old gloves were on, but 'twas her hands; She has a huswife's hand: but that's no matter: I say, she never did invent this letter; This is a man's invention, and his hand. Sil. Sure, it is hers. Ros. Why, 'tis a boisterous and a cruel style, 19 Mason thinks that part of Silvius's speech is lost, and that we should read 'Phebe did write it with her own fair hand.' and then Rosalind's reply follows more naturally. A style for challengers: why, she defies me, Ros. She Phebes me: Mark how the tyrant writes. Art thou god to shepherd turn'd, That a maiden's heart hath burn'd? Can a woman rail thus? Sil. Call you this railing? Ros. Why, thy godhead laid apart, Did you ever hear such railing? Whiles the eye of man did woo me, Meaning me a beast.— 20 21 If the scorn of your bright eyne 20 i. e. mischief. [Reads. Sil. Call you this chiding? Cel. Alas, poor shepherd! Ros. Do you pity him? no, he deserves no pity.— Wilt thou love such a woman?-What, to make thee an instrument, and play false strains upon thee! not to be endured!-Well, go your way to her, (for I see, love hath made thee a tame snake 25), and say this to her;-That if she love me, I charge her to love thee if she will not, I will never have her, unless thou entreat for her.-If you be a true lover, hence, and not a word; for here comes more company. [Exit SILVIUS. Enter OLIVER. Oli. Good-morrow, fair ones: Pray you, if you know Where, in the purlieus of this forest, stands The rank of osiers, by the murmuring stream, Oli. If that an eye may profit by a tongue, Then I should know you by description; Such garments, and such years: The boy is fair, Of female favour, and bestows24 himself Like a ripe sister: but the woman low, And browner than her brother. Are not you The owner of the house I did inquire for? 23 A poor snake was a term of reproach equivalent to a wretch or poor creature. Hence also a sneaking or creeping fellow. 24 i. e. acts, or behaves like, &c. Of this quaint phraseology there is another example in King Henry IV. Part II. Act ii. Sc. 2: How might we see Falstaff bestow himself in his true colours?' See note there. |