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And the red glow of scorn and proud disdain,
Go hence a little, and I shall conduct you,
If you will mark it.

Ros. O, come, let us remove ;
The sight of lovers feedeth those in love :-
Bring us onto this sight, and you shall say
I'll prove a busy actor in their play.

[Exeunt.

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SCENE V.
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 accustomed sight of death makes hard,
Falls not the axe upon the humbled neck,
But first begs pardon ; Will you sterner be
Than he that dies and lives by bloody drops ?

Enter ROSALIND, Celia, and CORIN, at a distance.
Phe. I would not be thy executioner ;
I fly thee, for I would not injure thee.
Thou tell’st me, there is murder in mine eye :
'Tis pretty, sure, and very probable,
That eyes,-that are the frail’st and softest things,
Who shut their coward gates on atomies,-
Should be call’d tyrants, butchers, murderers !
Now I do frown on thee with all my heart ;
And, if mine eyes can wound, now let them kill thee ;
Now counterfeit to swoon ; why now fall down ;
Or, if thou canst not, O, for shame, for shame,
Lie not, to say mine eyes are murderers.
Now show the wound mine eye hath made in thee :
Scratch thee but with a pin, and there remains
Some scar of it; lean but upon a rush,
The cicatrice? and capable impressure
Thy palm some moment keeps : but now mine eyes,
Which I have darted at thee, hurt thee not;
Nor, I am sure, there is no force in eyes
That can do hurt.

Sil. O dear Phebe,
If ever, (as that ever may be near,)

[7] Çicatrice is here not very properly used; it is the scar of a wound. Capable impressure, hollow mark. JOHNSON.

You meet in some fresh cheek the power of fancy,
Then shall you know the wounds invisible
That love's keen arrows make.

Phe. But, till that time,
Come not thou near me : and, when that time comes,
Afflict me with thy mocks, pity me not ;
As, till that time, I shall not pity thee.
Ros. And why, I pray you ? [Advancing.) Who might

be your mother, : That you insult, exult, and all at once, Over the wretched ? What though you have more beauty, (As, by my faith, I see no more in you Than without candle may go dark to bed,) Must you be therefore proud and pitiless ? Why, what means this? Why do you look on me ? I see no more in you, than in the ordinary Of nature's sale-work :9-Od's my little life ! I think, she means to tangle my eyes too :No, 'faith, proud mistress, hope not after it ; 'Tis not your inky brows, your black-silk hair, Your bugle eye-balls, nor your cheek of cream, That can entame my spirits to your worship.-. You foolish shepherd, wherefore do you follow her, Like fogsy south, puffing with wind and rain ? You are a thousand times a properer man, Than she a woman : 'Tis such fools as you, That make the world full of ill-favour'd children : 'Tis not her glass, but you, that flatters her ; And out of you she sees herself more proper, Than any of her lineaments can show her.But, mistress, know yourself ; down on your knees, And thank heaven, fasting, for a good man's love : For I must tell you friendly in your ear, Sell when you can ; you are not for all markets : Cry the man mercy love him ; take his offer ; Foul is most foul, being foul to be a scoffer.' So, take her to thee, shepherd ;- fare you well.

Phe. Sweet youth, I pray you chide a year together ;

[8] It is common for the poets to express cruelty by saying, of those who commit it, that they were born of rocks, or suckled by tigresses. JOHNS.

(9) i. e. Those works which nature makes up, carelessly and without exactness. The allusion is to the practice of mechanics, whose work bespoke is more elaborate than that which is made up for chance customers, or to sell in quantities to retailers, which is called sale-work. WARBURTON.

[1] i.e. the ugly seem most ugly, when, though ugly, they are scoffers. JOH.

I had rather hear you chide, than this man woo.

Ros. He's fallen in love with her foulness, and she'll fall in love with my anger : If it be so, as fast as she answers thee with frowning looks, I'll sauce her with bitter words. Why look you so upon me? Phe. For ill-will I bear you. Ros. I pray you, do not fall in love with me, For I am falser than vows made in wine : Besides, I like you not : If you will know my house, 'Tis at the tuft of olives, here hard by :Will you go, sister?-Shepherd, ply her hard :Come, sister :-Shepherdess, look on him better, And be not proud : though all the world could see, None could be so abus'd in sight as he.-% Come, to our flock.

[Exe. Ros. CEL. and COR. Phe. Dead shepherd ! now I find thy saw of might; Who ever lov'd, that lov’d not at first sight ? 3

Sil. Sweet Phebe,-
Phe. Ha! what say'st thou, Silvius?
Sil. Sweet Phebe, pity me.
Phe. Why, I am sorry for thee, gentle Silvius.

Sil. Wherever sorrow is, relief would be ;
If

you do sorrow at my grief in love,
By giving love, your sorrow and my grief
Were both extermin'd.

Phe. Thou hast my love ; Is not that neighbourly
Sil. I would have you.

Phe. Why, that were covetousness.
Silvius, the time was, that I hated thee ;
And yet it is not, that I bear thee love :
But since that thou canst talk of love so well,
Thy company, which erst was irksome to me,
I will endure ; and I'll employ thee too :
But do not look for further recompence,
Than thine own gladness that thou art employ'd.

Sil. So holy, and so perfect is my love,
And I in such a poverty of grace,
That I shall think it a 'most plenteous crop
To glean the broken ears after the man 4

[2] Though all mankind could look on you, none could be so deceived as to think you beautiful but he. JOHNSON

[3] This line is from Marlowe's Hero and Leander. STEEV.

(4) Perhaps Shakspeare owed this image to the second chapter of Ruth :"Let fall some handfuls of purpose for her, and leave them that she may flean them." STEEVENS,

13* VOL. II.

That the main harvest reaps : loose now and then
A scatter'd smile, and that I'll live upon.
Phe. Know'st thou 'the youth that spoke to me ere

while ?
Sil. Not very well, but I have met him oft ;
And he hath bought the cottage, and the bounds,
That the old carlot once was master of.5

Phe. Think not I love him, though I ask for him ;
'Tis but a peevish boy :- yet he talks well ;-
But what care I for words ? yet words do well,
When he that speaks them pleases those that hear.
It is a pretty youth :-not very pretty :-
But, sure, he's proud ; and yet his pride becomes him ;
He'll make a proper man: The best thing in him
Is his complexion ; and faster than his tongue
Did make offence, his eye did heal it up.
He is not tall ; yet for his years he's tall :
His leg is but so so; and yet 'tis well :
There was a pretty redness in his lip ;
A little riper and more lusty red
Than that mix'd in his cheek ; 'twas just the difference
Betwixt the constant red, and mingled damask. 6
There be some women, Silvius, had they mark'd him
In parcels as I did, would have gone near
To fall in love with him : but, for my part,
I love him not, nor hate him not ; and yet
I have more cause to hate him than to love him:
For what had he to do to chide at me ?
He said, mine eyes were black, and my hair black ;
And, now I am remember'd, scorn'd at me :
I marvel, why I answer'd not again :
But that's all one ; omittance is no quittance.
I'll write to him a very taunting letter,
And thou shalt bear it; Wilt thou, Silvius?

Sil. Phebe, with all my heart.

Phe. I'll write it straight ;
The matter's in my head, and in my heart :
I will be bitter with him, and passing short :
Go with me, Silvius.

[Exeunt.

(5) Carlot, i e. peasant, from carl or churl. DOUCE

[6] “ Cunstant red” is uniform red. Mingled vlamask” is the silk of that name, in which, by a various direction of the threads, many lighter shades of the same colour are exbibited, STEEVENS.

ACT IV.

SCENE I.. The same. Enter ROSALIND, CELIA, and JAQUES.

Faques. I PR’YTHEE, pretty youth, let me be better acquainted with thee.

Ros. They say, you are a melancholy fellow.
Jaq. I am so ; I do love it better than laughing.

Ros. Those, that are in extremity of either, are abominable fellows; and betray themselves to every modern censure, worse than drunkards.

Jaq. Why, 'tis good to be sad and say nothing.
Ros. Why then, 'tis good to be a post.

Jag. I have neither the scholar's melancholy, which is emulation; nor the musician's, which is fantastical ; nor the courtier's, which is proud ; nor the soldier's, which is ambitious; nor the lawyer's, which is politic; nor the lady's, which is nice ;7 nor the lover's, which is all these : but it is a melancholy of mine own, compounded of many simples, extracted from many objects : and, indeed, the sundry contemplation of my travels, in which my often rumination wraps me, is a most humorous sadness.

Ros. A traveller! By my faith, you have great reason to be sad : I fear, you have sold your own lands, to see other men's ; then, to have seen much, and to have nothing, is to have rich eyes and poor hands. Jaq. Yes, I have gained my experience.

Enter ORLANDO. Ros. And your experience makes you sad: I had rather have a fool to make me merry, than experience to make me sad ; and to travel for it too.

Orla. Good day, and happiness, dear Rosalind !

Jaq. Nay then, God be wi' you, an you talk in blank verse.

[Exit. Ros. Farewell, monsieur traveller : Look, you lisp, and wear strange suits ; disable all the benefits of your own country ; be out of love with your nativity, and almost chide God for making you that countenance you are ; or I will scarce think you have swam in a gon

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