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and I thought no less ;—that flattering tongue of yours won me ;-'tis but one cast away, and so,-come, death.—Two o'clock is your hour ?
Orl. Ay, sweet Rosalind.
Ros. By my troth and in good earnest, and so God mend me, and by all pretty oaths that are not dangerous, if you break one jot of your promise, or come one minute behind your hour, I will think you the most pathetical' break-promise, and the most hollow lover, and the most unworthy of her you call Rosalind, that may be chosen out of the gross band of the unfaithful. Therefore beware my censure, and keep your proinise.
Orl. With no less religion, than if thou wert indeed my Rosalind. So, adieu.
Ros. Well, time is the old justice that examines all such offenders, and let time try. Adieu !
[Exit ORLANDO. Cel. You have simply misused our sex in your loveprate: we must have your doublet and hose plucked over your head, and show the world what the bird hath done to her own nest.
Ros. O coz, coz, coz, my pretty little coz, that thou didst know how many fathom deep I am in love! But it cannot be sounded; my affection hath an unknown bottom, like the bay of Portugal.
Cel. Or rather, bottomless; that as fast as you pour affection in, it runs out.
Ros. No, that same wicked bastard of Venus, that was begot of thought, conceived of spleen, and born of madness; that blind rascally boy, that abuses every one's eyes, because his own are out, let him be judge, how deep I am in love.—I'll tell thee, Aliena, I cannot be out of the sight of Orlando. I'll go find a shadow,and sigh till he come. Cel. And I'll sleep.
1 Pathetical and passionate were used in the same sense in Shakspeare's time. 2 So in Macbeth :
“Let us seek out some desolate shade, and there
Weep our sad bosoms empty.”
Another Part of the Forest.
Enter Jaques and Lords, in the habit of Foresters. Jag. Which is he that killed the deer ? 1 Lord. Sir, it was I.
Jaq. Let's present him to the duke, like a Roman conqueror; and it would do well to set the deer's horns upon his head, for a branch of victory.-Have you no song, forester, for this purpose ?
2 Lord. Yes, sir.
Jag. Sing it; 'tis no matter how it be in tune, so it makes noise enough.
1. What shall he have that killed the deer?
The rest shall Take thou no scorn to wear the horn; (
bear this burIt was a crest ere thou wast born ;
den. 1. Thy father's father wore it; )
2. And thy father bore it. All. The horn, the horn, the lusty horn,
Is not a thing to laugh to scorn. [Exeunt.
SCENE III. The Forest.
Enter Rosalind and Celia. Ros. How say you now? Is it not past two o'clock ? And here much Orlando!
1 In Playford's Musical Companion, 1673, where this song is set to music by John Hilton, the words “ Then sing him home” are omitted; and it should be remarked that in the old copy, these words, and those which have been regarded by the editors as a stage direction, are given in one line.
2 i. e. here is no Orlando. Much was a common ironical expression of doubt or suspicion, still used by the vulgar in the same sense; as, “much of that!”
Cel. I warrant you, with pure love, and troubled brain, he hath ta’en his bow and arrows, and is gone forth—to sleep. Look, who comes here.
[Giving a letter.
Ros. Patience herself would startle at this letter,
Sil. No, I protest, I know not the contents;
Come, come, you are a fool,
Sil. Sure, it is hers.
Ros. Why, 'tis a boisterous and a cruel style, A style for challengers. Why, she defies me, Like Turk to Christian : woman's gentle brain Could not drop forth such giant-rude invention, Such Ethiop words, blacker in their effect Than in their countenance.—Will you hear the letter !
Sil. So please you, for I never heard it yet; Yet heard too much of Phebe's cruelty.
Ros. She Phebes me. Mark how the tyrant writes. Art thou god to shepherd turned,
[Reads. That a maiden's heart hath burned ? Can a woman rail thus ?
Sil. Call you this railing ?
Warr'st thou with a woman's heart?
Whiles the eye of man did woo me,
That could do no vengeance to me-
If the scorn of your bright eyne'
And then I'll study how to die.
Ros. Do you pity him? No, he deserves no pity.Wilt thou love such a woman ? —What, to make thee an instrument, and play false strains upon thee! Not to be endured !-Well, go your way to her, (for I see, love hath made thee a tame snake,y) and say this to her ;—That if she love me, I charge her to love thee; if she will not, I will never have her, unless thou entreat for her.-If you be a true lover, hence, and not a word; for here comes more company.
[Exit Silvius. 1 Eyne for eyes. 2 Kind, for nature, or natural affections.
3 A poor snake was a term of reproach equivalent to a wretch or poor creature. Hence, also, a sneaking or creeping fellow.
Enter Oliver. Oli. Good-morrow, fair ones. Pray you, if you
Oli. If that an eye may profit by a tongue,
Cel. It is no boast, being asked, to say we are.
Oli. Orlando doth commend him to you both;
Ros. I am. What must we understand by this?
Oli. Some of my shame; if you will know of me What man I am, and how, and why, and where This handkerchief was stained. Cel.
I pray you, tell it. Oli. When last the young Orlando parted from you, He left a promise to return again Within an hour ; and, pacing through the forest, Chewing the food of sweet and bitter fancy, Lo, what befell! He threw his eye aside, And, mark, what object did present itself!
1 i. e. acts or behaves like, &c.
2 A napkin and handkerchief were the same thing in Shakspeare's time, as we gather from the dictionaries of Baret and Hutton in their explanations of the word Cæsitiuin and Sudarium. Napkin, for handkerchief, is still in use in the north.