SCENE II.—A Room in the Palace. Enter DUKE FREDERICK, Lords, and Attendants. Duke F. Can it be possible that no man saw them? It cannot be some villains of my court Are of consent and sufferance in this. 1 Lord. I cannot hear of any that did see her. 1 2 Lord. My lord, the roynish clown, at whom so oft Your daughter and her cousin much commend Duke F. Send to his brother; fetch that gallant hither; And let not search and inquisition quail 2 [Exeunt. 1 Roynish] Scurvy.-From the Anglo-Norman roine, a scab. In Chaucer's Romaunt of the Rose we have Withouten bleine, or scab, or roine.' Hence probably the imprecation Aroint thee! in Macbeth, i. 3, and in K. Lear, iii. 4. It has been conjectured, however, that roynish is a misprint for roguish. 2 Quail] Fail in resolution. SCENE III. 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 Roland! why, what make you here?1 Your praise is come too swiftly home to you. No more do yours; your virtues, gentle master, O, what a world is this, when what is comely Orl. Why, what's the matter? O unhappy youth, Come not within these doors! within this roof' Your brother-(no, no brother; yet the son- Of him I was about to call his father)— Hath heard your praises; and this night he means This is no place, this house is but a butchery; food? 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 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 I have five hundred crowns, Hot and rebellious liquors in my blood; In all your business and necessities. Orl. O good old man, how well in thee appears 1 Diverted] Estranged; hostile. 2 In corners thrown] Grammatical imperfection such as occurs here is very common in Shakspeare. Kindly] Natural; reasonable. The constant service of the antique world, Adam. Master, go on; and I will follow thee, SCENE IV.—The Forest of Arden. [Exeunt. Enter ROSALIND in boy's clothes, CELIA dressed like a Shepherdess, and TOUCHSTONE. Ros. O Jupiter! how weary 3 are my spirits! Touch. I care not for my spirits, if my legs were not weary. Ros. I could find in my heart to disgrace my man's apparel, and to cry like a woman; but I must comfort the 1 Choke their service up, &c.] Proportion their service to the promotion they have. 2 Too late a week] A satirical thought, like Hamlet's 'Too dear a halfpenny' (ii. 2). 3 Weary] The folio has merry: an obvious misprint. weaker vessel, as doublet 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 cross1 if I did bear you; 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. Enter CORIN and SILVIUS. Cor. That is the way to make her scorn you still. But if thy love were ever like to mine Hast thou been drawn to by thy fantasy? 2 Cor. Into a thousand that I have forgotten. Or if thou hast not sat as I do now, Wearying thy hearer in thy mistress' praise, 1 Bear no cross] Bear no money: one of our poet's many punning references to the crusado, a coin that had a cross stamped on it. 2 Fantasy] Fancy or imagination. |