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love have you wearied your parishioners withal, and never cry'd, Have patience, good people!
Cel. How now ! back friends ;-Shepherd, go off a little : -Go with him, sirrah.
Touch. Come, shepherd, let us make an honourable retreat ; though not with bag and baggage, yet with scrip and scrippage.
[Exeunt Corin and TOUCHSTONE. Cel. Didst thou hear these verses ?
Ros. O, yes, I heard them all, and more too; for some of them had in them more feet than the verses would bear.
Cel. That's no matter; the feet might bear the verses.
Ros. Ay, but the feet were lame, and could not bear themselves without the verse, and therefore stood lamely in the verse.
Cel. But didst thou hear, without wondering how thy name should be hang'd and carved upon these trees ?
Ros. I was seven of the nine days out of the wonder, before you came; for look here what I found on a palmtree : I was never so be-rhymed since Pythagoras' time, that I was an Irish rat, which I can hardly remember.
Cel. Trow you, who hath done this?
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 ;d but mountains may be removed with earthquakes, and so encounter.
Ros. Nay, but who is it?
Ros. Nay, I pray thee now, with most petitionary vehemence, tell me who it is.
a palm-tree :) A palm-tree, in the forest of Arden, is as much out of its place, as the lioness in a subsequent scene.-STEEVENS.
- an Irish rat,] Alluding to the idea of killing rats with rhymes.-In Randolph we have the following passage :
Rhyme them to death, as they do rats in Ireland.-Johnson.
Cel. O wonderful, wonderful, and most wonderful wonderful, and yet again wonderful, and after that out of all whooping !
Ros. Good my complexion ! dost thou think, though I am caparison'd like a man, I have a doublet and hose in my disposition? One inch of delay more is a South-seaoff discovery. I pr’ythee, tell me, who is it? quickly, and speak apace : I would thou couldst stammer, that thou might'st pour this concealed man out of thy mouth, as wine comes out of a narrow-mouth'd bottle ; either too much at once, or not at all. I pr’ythee 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 send more, if the man will be thankful: let me stay 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; speak sad brow, and true maid.
Cel. I'faith, coz, 'tis he.
Ros. Alas the day! what shall I do with my doublet and hose?-What did he, when thou saw'st him ? What said 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.
whooping.) To whoop is to exclaim with astonishment.-Nares's Glossary. Out of all whooping, is beyond the possibility of expressing astonishment.
f Good my complexion!] A little unmeaning exclamatory address to her beauty; in the nature of a small oath.-Ritson.
a South-sea-off discovery.] i. e. Every delay however short is as tedious as a voyage of discovery as far off as to the South-sea.—Johnson. The old reading is a South-seu of discovery: which Mr. Henley would retain, and interprets thus:-" A South-sea of discovery, is not a discovery as far of", but as comprehensive as the South-sea ; which, being the largest in the world, affords the widest scope for exercising curiosity.
speak sud brow, and true maid.] i. e. Seriously and honestly. Wherein went he?] In what manner was he clothed?-HEATH.
Cel. You must borrow me Garagantua's mouthk first: 'tis a word too great for any mouth of this age's size: To say, ay, or no, to these particulars, is more than to answer in a catechism.
Ros. But doth he know that I am in this forest, and in man's apparel ? Looks he as freshly as he did the day he wrestled ?
Cel. It is as easy to count atomies,' as to resolve the propositions of a lover :--but take a taste of my finding him, and relish it with a good observance. I found him under a tree, like a dropp'd acorn. Ros. It may well be callid Jove's tree, when it drops
. forth such fruit.
Cel. Give me audience, good madam. Ros. Proceed. Cel. There lay he, stretch'd along, like a wounded knight.
Ros. Though it be pity to see such a sight, it well becomes the ground.
Cel. Cry, holla! to thy tongue," I pr’ythee ; it curvets very unseasonably. He was furnish'd like a hunter.
Ros. O ominous ! he comes to kill my heart."
Cel. I would sing my song without a burden: thou bring'st me out of tune.
Ros. Do you not know I am a woman? when I think, I must speak. Sweet, say on.
Enter ORLANDO and JAQUES.
[Celia and ROSALIND retire.
Garagantua's mouth—] Rosalind requires nine questions to be answered in one word. Celia tells her that a word of such magnitude is too big for any mouth but that of Garagantua, the giant of Rabelais, who swallowed five pilgrims, their staves and all, in a sallad.—Johnson.
to count atomies,] Atomies are those minute particles discernible in a stream of sunshine that breaks into a darkened room.-Henley.
m Cry, holla! to thy tongue,] Holla was a term of the manége, by which the rider restrained and stopp'd his horse.--MALONE.
to kill my heart.] A quibble between heart and hart, which words in our author's time were frequently spelt alike; as is the case in the present instance in the folio.
Jaq. I thank you for your company; but, good faith, I had as lief have been myself alone.
Orl. And so had I ; but yet for fashion sake, I thank you too for your society.
Jaq. God be with you;, let's meet as little as we can.
pray you, mar no more trees with writing lovesongs in their barks.
Orl. I pray you, mar no more of my verses with reading them ill-favouredly.
Jaq. Rosalind is your love's name?
Orl. There is no thought of pleasing you, when she was christen'd.
Jaq. What stature is she of?
Jaq. You are full of pretty answers : Have you not been acquainted with goldsmith's wives, and conn'd them out of rings?
Orl. Not so; but I answer you right painted cloth, from whence you have studied your questions.
Jaq. You have a nimble wit; I think it is made of Atalanta's heels. Will you sit down with me? and we two will rail against our mistress the world, and all our misery.
Orl. I will chide no breather in the world, but myself; against whom I know most faults.
Jaq. The worst fault you have, is to be in love.
Orl. 'Tis a fault I would not change for your best virtue. I am weary of you.
Jaq. By my troth, I was seeking for a fool, when I
o God be with you ;] In the folio, the words are God buy you : the same expression is again used by Jaques in the fourth act, and is again changed by the modern editors.—I have retained the alteration in both places, though it is probable that the folio is right, and that God buy you was no unfrequent expression in the sense of God redeem you.
right painted cloth,] A common kind of hangings for rooms, made of cloth or canvass painted in oil with various devices and mottos. Master Thomas More, in hys youth, devysed in hys father's house in London, a goodly hangyng of fyne paynted clothe, with nyne pageauntes, and verses over every of those pageants.”-Sir T. More's English Works, by Rastelle.-STEEVENS.
Orl, He is drown'd in the brook; look but in, and you shall see him.
Jaq. There shall I see mine own figure.
Jaq. I'll tarry no longer with you; farewell, good sigpior love.
Orl. I am glad of your daparture ; adieu, good monsieur melancholy
[Exit JAQUES.-Celia and ROSALIND
come forward. Ros. I will speak to him like a saucy lacquey, and under that habit play the knave with him.-Do you hear, forester?
Orl. Very well; what would you ?
Orl. You should ask me, what time o’day; there's no clock in the forest.
Ros. Then there is no true lover in the forest; else sighing every minute, and groaning every hour, would detect the lazy foot of time, as well as a clock.
Orl. And why not the swift foot of time? had not that been as proper?
Ros. By no means, sir: Time travels in divers paces with divers persons: I'll tell you who time ambles withal, who time trots withal, who time gallops withal, and who he stands still 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 solemnized; if the intrim be but a se'nnight, time's pace is so hard that it seems the length of seven years.
Orl. Who ambles time withal?
Ros. With a priest that lacks Latin, and a rich man that hath not the gout: for the one sleeps easily, because he cannot study; and the other lives merrily, because he feels no pain : the one lacking the burden of lean and wasteful learning; the other knowing no burden of heavy tedious penury: These time ambles withal.
Orl. Who doth he gallop withal ?