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ORL. I am glad of your departure; adieu, good monfieur melancholy.

[Exit JAQUES.-CELIA and ROSALIND come forward. Ros. I will speak to him like a faucy lacquey, and under that habit play the knave with him.Do you hear, forefter?

ORL. Very well; What would you?

Ros. I pray you, what is't a clock?

ORL. You should afk me, what time o'day; there's no clock in the foreft.

Ros. Then there is no true lover in the forest; elfe fighing every minute, and groaning every hour, would detect the lazy foot of time, as well as a clock.

ORL. And why not the fwift foot of time? had not that been as proper?

Ros. By no means, fir: Time travels in divers paces with divers perfons: I'll tell you who time ambles withal, who time trots withal, who time gallops withal, and who he ftands ftill withal.

ORL. I pr'ythee, who doth he trot withal?

Ros. Marry, he trots hard with a young maid, between the contract of her marriage, and the day it is folemnized: if the interim be but a fe'nnight, time's pace is fo hard that it seems the length of feven years.

ORL. Who ambles time withal?

Ros. With a prieft that lacks Latin, and a rich man that hath not the gout: for the one fleeps

6 Marry, he trots hard with a young maid, between the contract, &c.] And yet in Much ado about Nothing, our author tells us, "Time goes on crutches, till love have all his rites." In both paffages, however, the interim is equally reprefented as tedious.


cafily, because he cannot ftudy; and the other lives merrily, because he feels no pain: the one lacking the burden of lean and wafteful learning; the other knowing no burden of heavy tedious penury: These time ambles withal.

ORL. Who doth he gallop withal?

Ros. With a thief to the gallows: for though he go as foftly as foot can fall, he thinks himself too foon there.

ORL. Who ftays it ftill withal?

Ros. With lawyers in the vacation: for they fleep between term and term, and then they perceive not how time moves..


ORL. Where dwell you, pretty youth?

Ros. With this fhepherdefs, my fister; here in the skirts of the foreft, like fringe upon a petticoat. ORL. Are native of this place?


Ros. As the coney, that you fee dwell where fhe is kindled.

ORL. Your accent is fomething finer than you could purchase in fo removed a dwelling.

Ros. I have been told fo of many: but, indeed, an old religious uncle of mine taught me to speak, who was in his youth an in-land man; one that

removed] i. e. remote, fequeftered. REED. So, in A Midsummer Night's Dream, folio, 1623: "From Athens is her house remov'd feven leagues."

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in-land man;] Is ufed in this play for one civilifed, in oppofition to the ruftick of the prieft. So, Orlando before"Yet am I inland bred, and know fome nurture." JOHNSON.

See Marlowe's Hero and Leander, 1598:

"His prefence made the rudeft peafant melt,
"That in the vast uplandish countrie dwelt.”

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CEL. And a chain, that you once wore, about his neck: Change you colour?

Ros. I pr'ythee, who?


CEL. O lord, lord! it is a hard matter for friends to meet; but mountains may be removed with earthquakes, and fo encounter.

Ros. Nay, but who is it?

CEL. Is it poffible?

Ros. Nay, I pray thee now, with moft petitionary vehemence, tell me who it is.

CEL. O wonderful, wonderful, and moft wonderful wonderful, and yet again wonderful, and after that out of all whooping!?

7 -friends to meet;] Alluding ironically to the proverb: "Friends may meet, but mountains never greet."

See Ray's Collection. STEEVENS.

but mountains may be removed with earthquakes, and fo encounter.] Montes duo inter fe concurrerunt," &c. fays Pliny, Hift. Nat. Lib. II. c. lxxxiii. or in Holland's tranflation: "Two bills (removed by an earthquake) encountered together, charging as it were, and with violence affaulting one another, and retyring again with a most mighty noise." TOLLET.

out of all whooping!] i. e. out of all measure, or reckoning. So, in the Old Ballad of Yorke, Yorke for my money, &c. 1584:

"And then was shooting, out of cry,

"The fkantling at a handful nie.'

Again, in the old bl. I. comedy called Common Conditions:

"I have beraed myself out of cry." STEEVENS.

This appears to have been a phrafe of the fame import as another formerly in ufe," out of all cry." The latter feems to allude to the custom of giving notice by a crier of things to be fold. So, in A Chafte Maide of Cheapfide, a comedy by T. Middleton, 1630: " I'll fell all at an outcry." MALONE.

An oxtery is ftill a provincial term for an auction.


Ros. Good my complexion! doft thou think, though I am caparifon'd like a man, I have a doublet and hofe in my difpofition? One inch of delay more is a South-fea-off difcovery. I pr'ythee, tell

2 Good my complexion!] This is a mode of expreffion, Mr. Theobald fays, which he cannot reconcile to common fenfe. Like enough: and fo too the Oxford editor. But the meaning is-Hold good my complexion, i, e. let me not blush. WARBURTON.

Good my complexion!] My native character, my female inquifitive difpofition, can'ft thou endure this!-For thus characterizing the moft beautiful part of the creation, let our author answer. MALONE. Good my complexion! is a little unmeaning exclamatory address to her beauty; in the nature of a small oath. RITSON.

3 One inch of delay more is a South-fea-off difcovery.] The old copy reads is a South-fea of difcoveric, STEEVENS.

This is ftark nonfenfe; we must read-off discovery, i. e. from discovery. "If you delay me one inch of time longer, I fhall think this fecret as far from difcovery as the South-fea is." WARBURTON.

This fentence is rightly noted by the commentator as nonsense, but not fo happily reftored to fenfe. I read thus:

One inch of delay more is a South-fea. Discover, I pr'ythee; tell me who is it quickly!-When the tranfcriber had once made difcovery from difcover I, he eafily put an article after South-fea. But it may be read with ftill lefs change, and with equal probability-Every inch of delay more is a South-fea difcovery: Every delay however fhort, is to me tedious and irksome as the longest voyage, as a voyage of difcovery on the South-fea. How much voyages to the South-fea on which the English had then first ventured, engaged the converfation of that time, may be easily imagined. JOHNSON.

Of for off, is frequent in the elder writers. A South-fea of difcovery is a difcovery a South-fea off-as far as the South-fea.


Warburton's fophiftication ought to have been reprobated, and the old, which is the only reading that can preferve the sense of Rofalind, restored. A South-fea of difcovery, is not a difcovery, as FAR OFF, but as COMPREHENSIVE as the South-fea; which, being the largest in the world, affords the widest scope for exercifing curiofity. HENLEY.

On a further confideration of this paffage I am ftrongly inclined to think, with Dr. Johnson, that we should read-a South-fea difDelay, however fhort, is to me tedious and irksome as

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me, who is it? quickly, and speak apace; I would thou couldst stammer, that thou might'ft pour this concealed man out of thy mouth, as wine comes out of a narrow-mouth'd bottle; either too much at once, or none at all. I pry'thee take the cork out of thy mouth, 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.

Ros. Why, God will fend more, if the man will be thankful: let me ftay 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 wrestler's heels, and your heart, both in an instant. Ros. Nay, but the devil take mocking; fpeak fad brow, and true maid."

CEL. I'faith, coz, 'tis he.
Ros. Orlando?

CEL. Orlando.

Ros. Alas the day! what fhall I do with my doublet and hofe?-What did he, when thou faw't him? What faid he? How look'd he? Wherein went he? What makes he here? Did he ask for me? Where remains he? How parted he with thee? and when shalt thou see him again? Answer me in one word.

the longest voyage, as a voyage of difcovery on the South-Sea." The word of, which had occurred juft before, might have been inadvertently repeated by the compofitor. MALONE.

✦ — speak sad brow, and true maid.] i. e. fpeak with a grave countenance, and as truly as thou art a virgin; fpeak seriously and honeftly. RITSON.

5 Wherein went he?] In what manner was he clothed? How did he go dreffed? HEATH,

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