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Jaq. Will you be married, motley ?

Touch. As the ox hath his bow," sir, the horse his curb, and the faulcon her bells, so man hath his desires; and as pigeons bill, so wedlock would be nibbling.

Jaq. And will you, being a man of your breeding, be married under a bush, like a beggar? Get you to church, and have a good priest that can tell you what marriage is : this fellow will but join you together as they join wainscot: then one of you will prove a shrunk pannel, and, like green timber, warp, warp.

Touch. I am not in the mind but I were better to be married of him than of another: for he is not like to marry me well; and not being well married, it will be a good excuse for me hereafter to leave

my
wife.

[Aside. Jaq. Go thou with me, and let me counsel thee.

Touch. Come, sweet Audrey ;
We must be married, or we must live in bawdry.
Farewell, good master Oliver !
Not—" O sweet Oliver,

O brave Oliver,
Leave me not behind thee;"
But_Wind away,

Begone I say,
I will not to wedding with thee..

[Exeunt JAQUES, TOUCHSTONE and AUDREY. Sir Oli. 'Tis no matter; ne'er a fantastical knave of them all shall flout me out of my calling. [Exit.

SCENE IV.

The same.

Before a Cottage. Enter ROSALIND and CELIA. Ros. Never talk to me, I will weep.

m

his bow,] i. e. His yoke. The ancient yoke in form resembled a bow. -STEEVENS.

n 0 sweet Oliver, &c.] This stanza appears to be composed of two quotations from popular old songs put in opposition to each other.-JOHNSON. The ballad of “O sweet Olyver,

Leave me not behind thee,” was entered on the books of the Stationers' Company, August 6, 1584, by Richard Jones.

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Cel. Do, I pr’ythee; but yet have the grace to consider, that tears do not become a man.

Ros. But have I not cause to weep?
Cel. As good cause as one would desire; therefore weep.
Ros. His very hair is of the dissembling colour.

Cel. Something browner than Judas's:o marry, his kisses are Judas's own children.

Ros. I'faith, his hair is of a good colour.

Cel. An excellent colour : your chesnut was ever the only colour.

Ros. And his kissing is as full of sanctity as the touch of holy bread.

Cel. He hath bought a pair of cast lips of Diana: a nun of winter's sisterhooda kisses not more religiously; the very ice of chastity is in them.

Ros. But why did he swear he would come this morning, and comes not?

Cel. Nay, certainly, there is no truth in him.
Ros. Do you think so?

Cel. Yes : I think he is not a pick-purse, nor a horsestealer ; but for his verity in love, I do think him as concave as a cover'd goblet," or a worm-eaten nut.

Ros. Not true in love ?
Cel. Yes, when he is in; but I think he is not in.
Ros. You have heard him swear downright he was.

Cel. Was is not is : besides, the oath of a lover is no stronger than the word of a tapster; they are both the confirmers of false reckonings : He attends here in the forest on the duke your father.

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Something browner than Judas's :] Judas was constantly represented in ancient painting or tapestry, with red hair and beurd.-Steevens.

P- as the touch of holy bread.) We should read' beard, that is, as the kiss of an holy saint or hermit, called the kiss of charity. This makes the comparison just and decent; the other impious and absurd.-WARBURTON.

9- a nun of winter's sisterhood,] i. e. Of an unfruitful sisterhood who had devoted herself to chastity. As those who were of the sisterhood of the Spring, were the votaries of Venus; those of Summer, the votaries of Ceres; those of Autumn, of Pomona; so those of the sisterhood of Winter were the votaries of Diana; called of Winter, because that quarter is not like the other three productive of increase.-WARBURTON.

as concave as a cover'd goblet,] i. é. Shakspeare wishes to convey the idea of hollowness ; and a goblet is more completely hollow when covered

than when it is not.-M. Mason,

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Ros. I met the duke yesterday, and had much question' with him: he asked me of what parentage I was; I told him, of as good as he; so he laugh’d, and let me go. But what talk we of fathers, when there is such a man as Orlando ?.

Cel. O, that's a brave man! he writes brave verses, speaks brave words, swears brave oaths, and breaks them bravely, quite traverse, athwarte the heart of his lover; as a puny tilter, that spurs his horse but on one side, breaks his staff like a noble goose: but all's brave, that youth mounts, and folly guides :—Who comes here?

Enter CORIN.

Cor. Mistress, and master, you have oft enquired
After the shepherd that complain’d of love;
Who you saw sitting by me on the turf,
Praising the proud disdainful shepherdess
That was his mistress.
Cel.

Well, and what of him?
Cor. If you will see a pageant truly play’d,
Between the pale-complexion of true love,
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 unto this sight, and you shall say
I'll prove a busy actor in their play.

[Exeunt.

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 question--] i. e. Conversation.

quite traverse, athwart, &c.] This is a metaphor taken from the tiltyard, for the elucidation of which, see note to Much Ado about Nothing, act v. sc. 1. Claudio.

In bitterness: The common executioner,
Whose heart the accustom'd 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 thinys,
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, 0, 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,)
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,

i-dies and lives] To die and live by a thing is to be constant to it, to persevere in it to the end. Lives does not signify is maintained, but the two verbs taken together mean, who is all his life conversant with bloody drops.MUSGRAVE.

u The cicatrice and capable impressure-] Cicatrice is here not very properl used; it is the scar of a wound.-Johnson. Capable here means perceptible. MALONE.

fancy,] i. e. Love.

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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 no 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 :-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 foggy 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 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.

Who might be your mother,] 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.—Johnson.

?- no beauty,] The original reading. The sense is, Must you, because you are plain, therefore be proud and pitiless, as ugly in mind as in person ?All the modern editors have most unnecessarily given more for no.

a Of nature's sale-work :-) The allusion is to the practice of mechanicks, whose work bespoke is more elaborate than that which is made up to sell in quantities to retailers.—WARBURTON.

bugle-) A bead of black glass. c Foul is most foul, being foul to be a scoffer.] The sense is, The ugly seem most ugly, when, though ugly, they are scoffers. ---Johnson.

VOL. III.

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