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And never going aright, being a watch,
still go right?
SCENE I. Another part of the same.
THARINE, BOYET, Lords, Attendants, and a
Against the steep uprising of the hill?
Boyet. I know not; but, I think, it was not he.
Prin. Whoe'er he was, he show'da mounting mind. Well, lords, to-day we shall have our despatch; On Saturday we will return to France.Then, forester, my friend, where is the bush, That we must stand and play the murderer in ?
For. Here by, upon the edge of yonder coppice; A stand, where you may make the fairest shoot.
Prin. I thank my beauty, I am fair that shoot, And thereupon thou speak’st, the fairest shoot.
For. Pardon me, madam, for I meant not so.
Prin. What, what? first praise me, and again
O short-liv'd pride! Not fair? alack for woe!
For. Yes, madam, fair.
Nay, never paint me now; Where fair is not, praise cannot mend the brow. Here, good my glass', take this for telling true;
[Giving him money. Fair payment for foul words is more than due. For. Nothing but fair is that which
inherit. Prin. See, see, my beauty will be sav'd by merit. Q heresy in fair, fit for these days! A giving hand, though foul, shall have fair praise.But come, the bow :-Now mercy goes to kill, And shooting well is then accounted ill. Thus will I save my credit in the shoot: Not wounding, pity would not let me do't; If wounding, then it was to shew my skill, That more for praise, than purpose, meant to kill. And, out of question, so it is sometimes; Glory grows guilty of detested crimes; When, for fame's sake, for praise, an outward part, We bend to that the working of the heart: As I, for praise alone, now seek to spill The poor deer's blood, that
heart means no ill. Boyet. Do not curst wives hold that self-sove
reignty Only for praise' sake, when they strive to be Lords o'er their lords?
Prin. Only for praise: and praise we may afford To any lady that subdues a lord.
1 Here Drs. Johnson and Farmer have each a note too long and too absurd to quote, to show it was the fashion for ladies to wear mirrors at their girdles. Steevens says justly (though he qualifies his assertion with perhaps) that Dr. Johnson is mistaken, and that the forester is the mirror. It is impossible for common sense to suppose otherwise.-Pye.
Cost. God dig-you-den 3 all! Pray you, which is the head lady?
Prin. Thou shalt know her, fellow, by the rest that have no heads.
Cost. Which is the greatest lady, the highest ?
is truth. An
your waist, mistress, were as slender as my wit, One of these maids' girdles
for your waist should be fit. Are not you the chief woman? you are the thickest
here. Prin. What's your will, sir? what's your will ? Cost. I have a letter from monsieur Biron, to one
lady Rosaline. Prin. O, thy letter, thy letter; he's a good friend
I am bound to serve.
We will read it, I swear : Break the neck of the wax, and every one give ear.
Boyet. [Reads.] By heaven, that thou art fair, is most infallible; true, that thou art beauteous; truth
2 The princess calls Costard a member of the commonwealth, because he is one of the attendants on the king and his associates in their new modelled society.
3 A corruption of God give you good even. See Romeo and Juliet, Act ii. Sc. 4.
i. e. open this letter. The poet uses this metaphor as the French do their poulet; which signifies both a young fowl and a love letter. To break up was a phrase for to carve.
itself, that thou art lovely: More fairer than fair, beautiful than beauteous; truer than truth itself, have commiseration on thy heroical vassal! The magnanimous and most illustrate5 king CophetuaỔ set eye upon the pernicious and indubitate beggar Zenelophon; and he it was that might rightly say, veni, vidi, vici; which to anatomize in the vulgar, (O base and obscure vulgar!) videlicet, he came, saw, and overcame : he came, one; saw, two; overcame, three. Who came? the king ; Why did he come? to see; Why did he see? to overcome; To whom came he? to the beggar; What saw he? the beggar; Who overcame he? the beggar: The conclusion is victory; On whose side? the king's: the captive is enrich'd; On whose side? the beggar's; The catastrophe is a nuptial; On whose side? the king's?—no, on both in one, or one in both. I am the king; for so stands the comparison: thou the beggar; for so witnesseth thy lowliness. Shall I command thy love? I I enforce thy love? I could: Shall I entreat thy love? I will. What shalt thou exchange for rags? robes; For tittles, titles; For thyself, me. Thus, expecting thy reply, I profane my lips on thy foot, my eyes on thy picture, and my heart on thy every part. Thine, in the dearest design of industry,
DON ADRIANO DE ARMADO. Thus dost thou hear the Nemean lion roar
'Gainst thee, thou lamb, that standest as his prey; Submissive fall his princely feet before,
And he from forage will incline to play: But if thou strive, poor soul, what art thou then? Food for his rage, repasture for his den.
6 The ballad of King Cophetua and the Beggar Maid may be seen in the Reliques of Ancient Poetry, vol. i. The beggar's name was Penelophon. Shakspeare alludes to the ballad again in Romeo and Juliet; Henry IV. Part II.; and in Richard II.
Prin. What plume of feathers is he, that indited
this letter? What vane? what weathercock? did
you ever hear better? Boyet.I am much deceived, but I remember the style. Prin. Else your memory is bad, going o'er it
erewhile? Boyet. This Armado is a Spaniard, that keeps
here in court; A phantasm, a Monarcho®, and one that makes sport To the prince, and his book-mates. Prin.
Thou, fellow, a word: Who gave
thee this letter? Cost.
I told you; my lord. Prin. To whom shouldst thou give it? Cost.
From my lord to my lady. Prin. From which lord, to which lady?
Cost. From my lord Biron, a good master of mine, To a lady of France, that he call’d Rosaline. Prin. Thou hast mistaken his letter. Come, lords,
away. Here, sweet, put up this; 'twill be thine another day.
[Exit Princess and Train. Boyet. Who is the suitor? who is the suitor??
7 i. e. lately.
Milton. Par. Reg. A pun is intended upon the word stile.
8 The allusion is to a fantastical character of the time. Popular applause (says Meres in Wit's Treasurie, p. 178), doth nourish some, neither do they gape after any other thing but vaine praise and glorie,-as in our age Peter Shakerlye of Paules, and Monarcho that lived about the court.' He is called an Italian by Nashe, and Churchyard has written some lines which he calls his ' Epitaphe.' By another writer it appears that he was a Bergamasco.'
An equivoque was here intended; it should appear that the words shooter and suitor were pronounced alike in Shakspeare's