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Your daughter and her cousin much commend
The parts and graces of the wrestler

That did but lately foil the sinewy Charles;
And she believes, wherever they are gone,
That youth is surely in their company.

Duke F. Send to his brother; fetch that gallant hither;
If he be absent, bring his brother to me,
I'll make him find him: do this suddenly;
And let not search and inquisition quail'
To bring again these foolish runaways.


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?
Why are you virtuous? Why do people love you ?
And wherefore are you gentle, strong, and valiant?
Why would you be so fond to overcome

The bony priser of the humorous duke?
Your praise is come too swiftly home before you.
Know you not, master, to some kind of men
Their graces serve them but as enemies?

No more do yours; your virtues, gentle master,
Are sanctified and holy traitors to you.

O, what a world is this, when what is comely
Envenoms him that bears it!

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.

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O you memory-] Shakspeare often uses memory for memorial;

Beaumont and Fletcher sometimes do the same.-STEEVENS.


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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
To burn the lodging where you use to lie,

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;
Abhor it, fear it, do not enter it.

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:
Yet this I will not do, do how I can;

I rather will subject me to the malice
Of a diverted blood, and bloody brother.

Adam. But do not so: I have five hundred crowns,
The thrifty hire I sav'd under your father,

Which I did store, to be my foster-nurse,

When service should in my old limbs lie lame,
And unregretted age in corners thrown;
Take that: and He that doth the ravens feed,
Yea, providently caters for the sparrow,
Be comfort to my age! Here is the gold;
All this I give you: Let me be your servant;
Though I look old, yet I am strong and lusty:
For in my youth I never did apply
Hot and rebellious" liquors in my blood;
Nor did not with unbashful forehead woo
The means of weakness and debility;
Therefore my age is as a lusty winter,
Frosty, but kindly let me go with you;

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

reason. MALONE.

I'll do the service of a younger man
In all your business and necessities.

Orl. O good old man; how well in thee appears
The constant service of the antique world,
When service sweat for duty, not for meed!
Thou art not for the fashion of these times,
Where none will sweat, but for promotion;
And having that, do choke their service up
Even with the having:* it is not so with thee.
But; poor old man, thou prun'st a rotten tree,
That cannot so much as a blossom yield,
In lieu of all thy pains and husbandry:
But come thy ways, we'll go along together;
And ere we have thy youthful wages spent,
We'll light upon some settled low content.

Adam. Master, go on; and I will follow thee,
To the last gasp, with truth and loyalty.-
From seventeen years till now almost fourscore
Here lived I, but now live here no more.
At seventeen years many their fortunes seek;
But at fourscore, it is too late a week:
Yet fortune cannot recompense me better,
Than to die well, and not my master's debtor.


The Forest of Arden.


Enter ROSALIND in boy's clothes, CELIA drest like a
Shepherdess, and TOUCHSTONE.

Ros. O Jupiter! how weary' are my spirits!
Touch. I care not for my spirits, if my legs were not


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.


Cor. That is the way to make her scorn you still.
Sil. O Corin, that thou knew'st how I do love her!
Cor. I partly guess; for I have lov'd ere now.
Sil. No, Corin, being old, thou canst not guess;
Though in thy youth thou wast as true a lover
As ever sigh'd upon a midnight pillow:
But if thy love were ever like to mine,
(As sure I think did never man love so,)
How many actions most ridiculous

Hast thou been drawn to by thy fantasy?

Cor. Into a thousand that I have forgotten.
Sil. O, thou didst then ne'er love so heartily.
If thou remember'st not the slightest folly
That ever love did make thee run into,
Thou hast not lov'd:

Or if thou hast not sat as I do now,

Wearying thy hearer in thy mistress' praise,
Thou hast not lov'd:

Or if thou hadst not broke from company,
Abrubtly, as my passion now makes me,

Thou hast not lov'd: O Phebe, Phebe, Phebe!

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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.

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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.

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