Orl. They shall be married to-morrow, and I will bid the duke to the nuptial. But, O! how bitter a thing it is to look into happiness through another man's eyes! By so much the more shall I to-morrow be at the height of heart-heaviness, by how much I shall think my brother happy in having what he wishes for. Ros. Why then, to-morrow I cannot serve your turn. for Rosalind?

Orl. I can live no longer by thinking.

Ros. I will weary you, then, no longer with idle talking. Know of me, then, (for now I speak to some purpose,) that I know you are a gentleman of good conceit. I speak not this, that you should bear a good opinion of my knowledge, insomuch, I say, I know you are; neither do I labour for a greater esteem than may in some little measure draw a belief from you, to do yourself good, and not to grace me. Believe then, if you please, that I can do strange things. I have, since I was three years old, conversed with a magician, most profound in his art, and yet not damnable. If you do love Rosalind so near the heart as your gesture cries it out, when your brother marries Aliena, shall you marry her. I know into what straits of fortune she is driven; and it is not impossible to me, if it appear not inconvenient to you, to set her before your eyes to-morrow, human as she is, and without any danger.

Orl. Speak'st thou in sober meanings?

Ros. By my life, I do; which I tender dearly, though I say I am a magician. Therefore, put you in your best array, bid your friends, for if you will be married to-morrow, you shall, and to Rosalind, if you will.

Enter SILVIUS and PHEBE.

Look; here comes a lover of mine, and a lover of hers. Phe. Youth, you have done me much ungentleness, To show the letter that I writ to you.

Ros. I care not, if I have: it is my study
To seem despiteful and ungentle to you.
You are there follow'd by a faithful shepherd:
Look upon him, love him; he worships you.

Phe. Good shepherd, tell this youth what 'tis to love.

Sil. It is to be all made of sighs and tears;

And so am I for Phebe.

Phe. And I for Ganymede.

Orl. And I for Rosalind.

Ros. And I for no woman.

Sil. It is to be all made of faith and service; And so am I for Phebe.

Phe. And I for Ganymede.

Orl. And I for Rosalind.

Ros. And I for no woman.

Sil. It is to be all made of fantasy,

All made of passion, and all made of wishes;

All adoration, duty and observance;

All humbleness, all patience, and impatience;
All purity, all trial, all observance3;
And so am I for Phebe.

Phe. And so am I for Ganymede.
Orl. And so am I for Rosalind.
Ros. And so am I for no woman.

Phe. If this be so, why blame you me to love you?

[TO ROSALIND. Sil. If this be so, why blame you me to love you? [TO PHEBE.

Orl. If this be so, why blame you me to love you? Ros. Why do you speak, too, "why blame you me to love you?"

3

all OBSERVANCE ;] Malone suggests the reading of obedience in this place, to avoid the repetition of "observance," which occurs two lines above. It certainly looks like an error of the press; but we are not thereby warranted in so far altering the original text.

WHY do you speak, Too,] This is the old reading of all the folios; which is perfectly intelligible, when addressed to Orlando, who replies, that he speaks

Orl. To her, that is not here, nor doth not hear.

Ros. Pray you, no more of this: 'tis like the howling of Irish wolves against the moon.-I will help you, [TO SILVIUS] if I can:-I would love you, [ To PHEBE] if I could.-To-morrow meet me all together. I will marry you, [To PHEBE] if ever I marry woman, and I'll be married to-morrow:-I will satisfy you, [To ORLANDO] if ever I satisfied man, and you shall be married to-morrow:-I will content you, [To SILVIUS] if what pleases you contents you, and you shall be married to-morrow. As you [To ORLANDO] love Rosalind, meet;-as you [To SILVIUS] love Phebe, meet; and as I love no woman, I'll meet.-So, fare you well: I have left you commands.

Enter TOUCHSTONE and AUDREY.

Touch. To-morrow is the joyful day, Audrey: tomorrow will we be married.

Aud. I do desire it with all my heart, and I hope it is no dishonest desire, to desire to be a woman of the world'. Here come two of the banished duke's pages.

Enter two Pages.

1 Page. Well met, honest gentleman.

too, notwithstanding the absence of his mistress. If altered, it need not be altered, as by the modern editors, to bad English-" Who do you speak to."

5 - a woman of the world.] See note to "Much Ado about Nothing," Vol. ii. p. 210, note 6.

Touch. By my troth, well met. Come, sit; sit, and a song.

2 Page. We are for you: sit i'the middle.

1 Page. Shall we clap into't roundly, without hawking, or spitting, or saying we are hoarse, which are the only prologues to a bad voice?

2 Page. I'faith, i'faith; and both in a tune, like two gypsies on a horse.

SONG 6.

It was a lover, and his lass,

With a hey, and a ho, and a hey nonino,
That o'er the green corn-field did pass

In the spring time, the only pretty ring time,
When birds do sing, hey ding a ding, ding;
Sweet lovers love the spring.

Between the acres of the rye,

With a hey, and a ho, and a hey nonino,

These pretty country folks would lie,
In spring time, &c.

This carol they began that hour,

With a hey, and a ho, and a hey nonino,

How that a life was but a flower

In spring time, &c.

And therefore take the present time,

With a hey, and a ho, and a hey nonino,

For love is crowned with the prime

In spring time, &c.

Touch. Truly, young gentlemen, though there was

This song may be seen somewhat more at large in Chappell's "Collection of National English Airs," vol. ii. p. 130, from a MS. now in the Advocates' Library, Edinburgh. Hence we find, as Dr. Thirlby conjectured, that the stanzas had been transposed, and that the second ought to come last, although not so printed in the old copies of the play. Here, too, we see that “rang time,” in the first stanza, is misprinted in the folios for "ring time."

no great matter in the ditty, yet the note was very untuneable'.

1 Page. You are deceived, sir: we kept time; we lost not our time.

Touch. By my troth, yes; I count it but time lost to hear such a foolish song. God be wi' you; and God mend your voices. Come, Audrey.

[Exeunt.

SCENE IV.

Another Part of the Forest.

Enter DUKE Senior, AMIENS, JAQUES, ORLANDO, OLIVER, and CELIA.

Duke S. Dost thou believe, Orlando, that the boy Can do all this that he hath promised?

Orl. I sometimes do believe, and sometimes do not, As those that fear they hope, and know they fear3.

Enter ROSALIND, SILVIUS, and PHEBE.

Ros. Patience once more, whiles our compact is urg'd.

[To the DUKE.] You say, if I bring in your Rosalind, You will bestow her on Orlando here?

7

Duke S. That would I, had I kingdoms to give with her.

yet the note was very UNTUNEABLE.] So the old editions. Monck Mason was strongly of opinion that it was a misprint for untimeable, and the error might be easily made; but Touchstone would hardly say, that "the note" of the song was very untimeable. The page might mistake the nature of Touchstone's remark, and apply to the time what was meant of the tune: the clown subsequently hopes that their voices may be mended, in order that they may sing more tuneably.

8 As those that fear they hope, and know they fear.] This line has produced a diversity of opinions; but the meaning of it seems to be, that Orlando is in the state of mind of those who fear what they hope, and know they fear it. He dares not hope that Rosalind will perform her promise, yet hopes that she will, and knows that he fears she will not.