Orl. To her, that is not here, nor doth not hear. Ros. Pray you, no more of this: 'tis like the howling of Irish wolves against the moon.—I will help you, [TO SILVIUS] if I can:-I would love you, [To PHEBE] if I could.-To-morrow meet me all together.—I will marry you, [To PHEBE] if ever I marry woman, and I'll be married to-morrow:-I will satisfy you, [To ORLANDO] if ever I satisfied man, and you shall be married to-morrow :-I will content you, [To SILVIUS] if what pleases you contents you, and you shall be married to-morrow.-As you [To ORLANDO] love Rosalind, meet;-as you [To SILVIUS] love Phebe, meet; and as I love no woman, I'll meet.-So, fare you well: I have left you commands. Enter TOUCHSTONE and AUDREY. Touch. To-morrow is the joyful day, Audrey: tomorrow will we be married. Aud. I do desire it with all my heart, and I hope it is no dishonest desire, to desire to be a woman of the world. Here come two of the banished duke's pages. Enter two Pages. 1 Page. Well met, honest gentleman. too, notwithstanding the absence of his mistress. If altered, it need not be altered, as by the modern editors, to bad English-" Who do you speak to.". - a woman of the world.] See note to "Much Ado about Nothing," Vol. ii. p. 210, note 6. 5 Touch. By my troth, well met. Come, sit; sit, and a song. 2 Page. We are for you: sit i'the middle. 1 Page. Shall we clap into't roundly, without hawking, or spitting, or saying we are hoarse, which are the only prologues to a bad voice? 2 Page. I'faith, i'faith; and both in a tune, like two gypsies on a horse. SONG 6. It was a lover, and his lass, With a hey, and a ho, and a hey nonino, In the spring time, the only pretty ring time, Between the acres of the rye, With a hey, and a ho, and a hey nonino, These pretty country folks would lie, This carol they began that hour, With a hey, and a ho, and a hey nonino, How that a life was but a flower In spring time, &c. And therefore take the present time, With a hey, and a ho, and a hey nonino, For love is crowned with the prime In spring time, &c. Touch. Truly, young gentlemen, though there was This song may be seen somewhat more at large in Chappell's "Collection of National English Airs," vol. ii. p. 130, from a MS. now in the Advocates' Library, Edinburgh. Hence we find, as Dr. Thirlby conjectured, that the stanzas had been transposed, and that the second ought to come last, although not so printed in the old copies of the play. Here, too, we see that "rang time," in the first stanza, is misprinted in the folios for "ring time." no great matter in the ditty, yet the note was very untuneable'. 1 Page. You are deceived, sir: we kept time; we lost not our time. Touch. By my troth, yes; to hear such a foolish song. I count it but time lost God be wi' you; and God [Exeunt. voices. Come, Audrey. mend your voices. SCENE IV. Another Part of the Forest. Enter DUKE Senior, AMIENS, JAQUES, ORLANDO, OLIVER, and CELIA. Duke S. Dost thou believe, Orlando, that the boy Can do all this that he hath promised? Orl. I sometimes do believe, and sometimes do not, As those that fear they hope, and know they fear3. Enter ROSALIND, SILVIUS, and PHEBE. Ros. Patience once more, whiles our compact is urg'd. [To the DUKE.] You say, if I bring in your Rosalind, You will bestow her on Orlando here? 7 Duke S. That would I, had I kingdoms to give with her. yet the note was very UNTUNEABLE.] So the old editions. Monck Mason was strongly of opinion that it was a misprint for untimeable, and the error might be easily made; but Touchstone would hardly say, that "the note" of the song was very untimeable. The page might mistake the nature of Touchstone's remark, and apply to the time what was meant of the tune: the clown subsequently hopes that their voices may be mended, in order that they may sing more tuneably. 8 As those that fear they hope, and know they fear.] This line has produced a diversity of opinions; but the meaning of it seems to be, that Orlando is in the state of mind of those who fear what they hope, and know they fear it. He dares not hope that Rosalind will perform her promise, yet hopes that she will, and knows that he fears she will not. Ros. [To ORLANDO.] And you say, you will have her, when I bring her? Orl. That would I, were I of all kingdoms king. Ros. [To PHEBE.] You say, you'll marry me, if I be willing? Phe. That will I, should I die the hour after. You'll give yourself to this most faithful shepherd? Ros. [To SILVIUS.] You say, that you'll have Phebe, if she will? Sil. Though to have her and death were both one thing. Ros. I have promis'd to make all this matter even. Keep you your word, O duke! to give your daughter;— You yours, Orlando, to receive his daughter:Keep you your word, Phebe', that you'll marry me; Or else, refusing me, to wed this shepherd :Keep your word, Silvius, that you'll marry her, If she refuse me :-and from hence I go, To make these doubts all even. [Exeunt ROSALIND and CELIA, Duke S. I do remember in this shepherd-boy Some lively touches of my daughter's favour. Enter TOUCHSTONE and AUDREY. Jaq. There is, sure, another flood toward, and these and con 9 Keep you your word, Phebe,] Malone, following Pope, omits you, tends that this colloquial mode of speaking is a misprint, although just above we have had "Keep you your word, O duke !" &c. Here again "Phebe" is to be pronounced in the time of a monosyllable. couples are coming to the ark. Here comes a pair of very strange beasts, which in all tongues are called fools. Touch. Salutation and greeting to you all. Jaq. Good my lord, bid him welcome. This is the motley-minded gentleman, that I have so often met in the forest: he hath been a courtier, he swears. Touch. If any man doubt that, let him put me to my purgation. I have trod a measure; I have flattered a lady; I have been politic with my friend, smooth with mine enemy; I have undone three tailors; I have had four quarrels, and like to have fought one. Jaq. And how was that ta'en up? Touch. 'Faith, we met, and found the quarrel was upon the seventh cause. Jaq. How seventh cause?-Good my lord, like this fellow. Duke S. I like him very well. Touch. God'ild you, sir1; I desire you of the like. I press in here, sir, amongst the rest of the country copulatives, to swear, and to forswear, according as marriage binds, and blood breaks.-A poor virgin, sir, an illfavoured thing, sir, but mine own: a poor humour of mine, sir, to take that that no man else will. Rich honesty dwells like a miser, sir, in a poor-house, as your pearl in your foul oyster. Duke S. By my faith, he is very swift and sententious. Touch. According to the fool's bolt, sir, and such dulcet diseases. Jaq. But, for the seventh cause; how did you find the quarrel on the seventh cause? Touch. Upon a lie seven times removed. - Bear your body more seeming, Audrey. As thus, sir. I did dislike the cut of a certain courtier's beard: he sent me word, if I said his beard was not cut well, he 1 GOD'ILD you, sir;] i. e. God yield you, or reward you. We have had the expression before in this play: see p. 62, note 9. |
