« 上一頁繼續 »
Your daughter and her cousin much commend
That did but lately foil the sinewy Charles;
Duke F. Send to his brother; fetch that gallant hither;
Before Oliver's House.
Enter ORLANDO and ADAM, meeting.
Orl. Who's there?
Adam. What! my young master?-O, my gentle master, O, my sweet master, O you memory
Of old sir Rowland! why, what make you here?
The bony priser of the humorous duke?
No more do yours; your virtues, gentle master,
O, what a world is this, when what is comely
Orl. Why, what's the matter?
O unhappy youth,
Come not within these doors; within this roof
The enemy of all your graces lives:
Your brother-(no, no brother; yet the son
P quail-] i. e. Faint, or sink into dejection.
O you memory-] Shakspeare often uses memory for memorial;
Beaumont and Fletcher sometimes do the same.-STEEVENS.
Yet not the son;-I will not call him son
Of him I was about to call his father),
Hath heard your praises; and this night he means
And you within it: if he fail of that,
He will have other means to cut you off;
I overheard him, and his practices.
This is no place, this house is but a butchery;
Orl. Why, whither, Adam, wouldst thou have me-go? Adam. No matter whither, so you come not here.
Orl. What, wouldst thou have me go and beg my food?
Or, with a base and boisterous sword, enforce
A thievish living on the common road?
This I must do, or know not what to do:
I rather will subject me to the malice
Adam. But do not so: I have five hundred crowns,
Which I did store, to be my foster-nurse,
When service should in my old limbs lie lame,
no place-] No seat or residence of a nobleman.-STEEVENS. But as
Mr. M. Mason suggests Adam may merely mean to say-This is no place for
t -diverted-] Turned out of the course of nature.-JOHNSON.
rebellous] i. e. Inciting the sensual passions to rebel against
I'll do the service of a younger man
Orl. O good old man; how well in thee appears
Adam. Master, go on; and I will follow thee,
The Forest of Arden.
Enter ROSALIND in boy's clothes, CELIA drest like a
Ros. O Jupiter! how weary' are my spirits!
Ros. I could find in my heart to disgrace my man's
Even with the having:] Even with the promotion gained by service is service extinguished.-JOHNSON.
weary-] This is the alteration of Warburton and Theobald. The old copy reads merry which may possibly be correct. Rosalind, in this first line, perhaps speaks in her assumed character; and with the tone of encouragement which she afterwards addresses to Celia; her intermediate speech being uttered aside.
apparel, and to cry like a woman: but I must comfort the weaker vessel, as double, and hose ought to show itself courageous, to petticoat: therefore, courage, good Aliena. Cel. I pray you, bear with me; I cannot go no further. Touch. For my part, I had rather bear with you, than bear you: yet I should bear no cross,' if I did bear for, I think, you have no money in your purse.
Ros. Well, this is the forest of Arden.
Touch. Ay, now am I in Arden: the more fool I; when I was at home, I was in a better place; but travellers must be content.
Ros. Ay, be so, good Touchstone :-Look you, who comes here; a young man, and an old, in solemn talk.
Enter CORIN and SILVIUS.
Cor. That is the way to make her scorn you still.
Hast thou been drawn to by thy fantasy?
Cor. Into a thousand that I have forgotten.
Or if thou hast not sat as I do now,
Wearying thy hearer in thy mistress' praise,
Or if thou hadst not broke from company,
Thou hast not lov'd: O Phebe, Phebe, Phebe!
no eross,] The ancient penny, according to Stow, had a double cross with a crest stampt on it. On this circumstance our author is perpetually quibbling.
Ros. Alas, poor shepherd! searching of thy wound, I have by hard adventure found my own.
Touch. And I mine: I remember, when I was in love, I broke my sword upon a stone, and bid him take that for coming anight to Jane Smile: and I remember the kissing of her batlet, and the cow's dugs that her pretty chop'd hands had milk'd: and I remember the wooing of a peascod instead of her; from whom I took two cods, and, giving her them again, said with tears, Wear these for my sake. We, that are true lovers, run into strange capers; but as all is mortal in nature, so is all nature in love mortal in folly."
Ros. Thou speak'st wiser, than thou art 'ware of.
Touch. Nay, I shall ne'er be aware of mine own wit, till I break my shins against it.
Ros. Jove! Jove! this shepherd's passion
Is much upon my fashion.
Touch. And mine; but it grows something stale with Cel. I pray you, one of you question yond man,
If he for gold will give us any food;
I faint almost to death.
Touch. Holla; you, clown!
Cor. Who calls?
Peace, fool; he's not thy kinsman.
Touch. Your betters, sir.
Cor. Else are they very wretched.
Good even to you, friend.
Peace, I say:
Cor. And to you, gentle sir, and to you all.
Ros. I pr'ythee, shepherd, if that love, or gold,
anight-] i. e. In the night. The word is used by Chaucer in The Legend of good Women.-STEEVENS.
batlet,] The instrument with which washers beat their coarse clothes.
Wear these for my sake.] The present made by Touchstone to his mistress consisted of two pods of the pea, which were formerly worn as an ornament. In a schedule of jewels in the 15th vol. of Rymer's Fœdera, we find "item two peascoddes of gold with 17 pearles."-Mr. Douce informs us, that when worn as an ornament in dress, the peascod was represented as open and exhibiting the peas.
d —so is all nature in love mortal in folly.] i. e. Abounding in folly.-In the middle counties, mortal from mort, a great quantity, is used as a particle of amplification; as mortal tall, mortal little. Of this sense Shakspeare takes advantage to produce one of his darling equivocations.-JOHNSON.