Ros. He calls us back: My pride fell with my for tunes: I'll ask him what he would:Did you call, sir?— More than your enemies. Cel. Will you go, coz? [Exeunt Ros. and CEL. Ros. Have with you:-Fare you well. Orl. What passion hangs these weights upon my tongue? I cannot speak to her, yet she urg'd conference. Re-enter LE BEAU. O poor Orlando! thou art overthrown; Or Charles, or something weaker, masters thee. That he misconstrues all that you have done. hung a shield and other trophies of war, at which they shot, darted, or rode, with a lance. When the shield and the trophies were all thrown down, the quintain remained. Without this information how could the reader understand the allusion of Mr. Malone has disputed the propriety of Mr. Guthrie's animadversions; and Mr. Douce is equally dissatisfied with those of Mr. Malone. The phalanx of our auxiliaries, as well as their circumstantiality, is so much increased, that we are often led (as Hamlet observes) to 66 fight for a spot "Whereon the numbers cannot try the cause." The present strictures, therefore, of Mr. Malone and Mr. Douce, (which are too valuable to be omitted, and too ample to find their place under the text of our author) must appear at the conclusion of the play. Steevens. For a more particular description of a quintain, see a note on a passage in Jonson's Underwoods, Whalley's edit. Vol. VII, p. 55. M. Mason. A humorous description of this amusement may also be read in Laneham's Letter from "Killingworth Castle." Henley. the duke's condition,] The word condition means character, temper, disposition. So, Antonio, the merchant of Venice, is called by his friend the best condition'd man. Johnson. The duke is humorous; what he is, indeed, Le Beau. Neither his daughter, if we judge by man ners; But yet, indeed, the shorter is his daughter: But that the people praise her for her virtues, I shall desire more love and knowledge of you. 2 Ms. 1632. [Exit LE BEAU. than me to speak of] The old copy has-than I. Corrected by Mr. Rowe. Malone. 3 the shorter-] Thus Mr. Pope. The old copy readsthe taller. Mr. Malone-the smaller. Steevens. Some change is absolutely necessary, for Rosalind, in a subsequent scene, expressly says that she is "more than common tall," and assigns that as a reason for her assuming the dress of a man, while her cousin Celia retained her female apparel. Again, in Act IV, sc. iii, Celia is described by these words--"the woman low, and browner than her brother;" i. e. Rosalind. Mr. Pope reads "the shorter is his daughter;" which has been admitted in all the subsequent editions: but surely shorter and taller could never have been confounded by either the eye or the ear. The present emendation, it is hoped, has a preferable claim to a place in the text, as being much nearer to the corrupted reading. Malone. Shakspeare sometimes speaks of little women, but I do not recollect that he or any other writer, has mentioned small ones. Otherwise, Mr. Malone's conjecture should have found a place in our text. Steevens. 4 in a better world than this,] So, in Coriolanus, Act III, sc. iii: "There is a world elsewhere." Steevens. Thus must I from the smoke into the smother; SCENE III. A Room in the Palace. Enter CELIA and ROSALIND. [Exit. Cel. Why, cousin; why, Rosalind;-Cupid have mercy!-Not a word? Ros. Not one to throw at a dog. Cel. No, thy words are too precious to be cast away upon curs, throw some of them at me; come, lame me with reasons. Ros. Then there were two cousins laid up; when the one should be lamed with reasons, and the other mad without any. Cel. But is all this for your father? " Ros. No, some of it is for my child's father:5" O, how full of briars is this working-day world! father's child Cel. They are but burs, cousin, thrown upon thee in holiday foolery; if we walk not in the trodden paths, our very petticoats will catch them. Ros. I could shake them off my coat; these burs are in my heart. Cel. Hem them away. Ros. I would try; if I could cry hem, and have him. Cel. Come, come, wrestle with thy affections. Ros. O, they take the part of a better wrestler than myself. Cel. O, a good wish upon you! you will try in time, in despite of a fall.-But, turning these jests out of service, let us talk in good earnest: Is it possible, on such a sudden, you should fall into so strong a liking with old sir Rowland's youngest son? Ros. The duke my father lov'd his father dearly. Cel. Doth it therefore ensue, that you should love his son dearly? By this kind of chase," I should hate him, 5 -for my child's father:] i. e. for him whom I hope to marry, and have children by. Theobald. 6 By this kind of chase,] That is, by this way of following the argument. Dear is used by Shakspeare in a double sense for Orlando. father hated his father dearly; yet I hate not Ros. No 'faith, hate him not, for my sake. Cel. Why should I not? doth he not deserve well?? Ros. Let me love him for that; and do you love him, because I do:-Look, here comes the duke. Cel. With his eyes full of anger. Enter Duke FREDERICK, with Lords. Duke F. Mistress, despatch you with your safest haste, And get you from our court. Ros. Duke F. fastest Me, uncle? You, cousin: Within these ten days if that thou be'st found Ros. I do beseech your grace, Let me the knowledge of my fault bear with me: Or have acquaintance with mine own desires; Duke F. Thus do all traitors; If their purgation did consist in words, Ros. Yet your mistrust cannot make me a traitor: beloved, and for hurtful, hated, baleful. Both senses are authorised, and both drawn from etymology; but properly, beloved is dear, and hateful is dere. Rosalind uses dearly in the good, and Celia in the bad sense. Johnson. 7 Why should I not? doth he not deserve well?] Celia answers Rosalind, (who had desired her "not to hate Orlando, for her sake,") as if she had said-" love him, for my sake:" to which the former replies, "Why should I not [i. e. love him]?" So, in the following passage, in King Henry VIII: Which of the peers "Have uncontemn'd gone by him, or at least 66 Strangely neglected?" Uncontemn'd must be understood as if the author had writtennot contemn'd; otherwise the subsequent words would convey a meaning directly contrary to what the speaker intends. Malone. Tell me, whereon the likelihood depends. Duke F. Thou art thy father's daughter, there's enough. Or, if we did derive it from our friends, Cel. Dear sovereign, hear me speak. Duke F. Ay, Celia; we stay'd her for your sake, Else had she with her father rang'd along. Cel. I did not then entreat to have her stay, It was your pleasure, and your own remorse; 8 Why so am I; we still have slept together, Still we went coupled, and"inseparable." inseparak ness, Her very silence, and her patience, Speak to the people, and they pity her. Thou art a fool: she robs thee of thy name; And thou wilt show more bright, and seem more virtuous, 1 When she is gone: then open not thy lips; Firm and irrevocable is my doom Which I have pass'd upon her; she is banish'd. 8 9 Cel. Pronounce that sentence then on me, my liege; remorse;] i. e. compassion. So, in Macbeth: "Stop the access and passage to remorse." Steevens. we still have slept together, Rose at an instant, learn'd, play'd, eat together;] Youthful friendship is described in nearly the same terms in a book published the year in which this play first appeared in print:"They ever went together, plaid together, eate together, and usually slept together, out of the great love that was between them." Life of Guzman de Alfarache, folio, printed by Edward Blount, 1623, P. I, B. I, c. viii, p. 75. Reed. 1 And thou wilt show more bright, and seem more virtuous,] When she was seen alone, she would be more noted. Johnson. |