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may be chosen out of the gross band of the unfaithful: therefore beware my censure, and keep your promise.
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:2 Adieu! [Exit ORL.
Cel. You have simply misus'd 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.3
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.
Kos. 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.5 Cel. And I'll sleep.
time is the old justice that examines all such offenders, and let time try:) So, in Troilus and Cressida:
“ And that old common arbitrator, Time,
“Will one day end it.” Steevens. 3 - to her own nest.] So, in Lodge's Rosalynde: And “ I pray you (quoth Aliena) if your own robes were off, what mettal are you made of, that you are so satyricall against women? Is it not a foule bird defiles her owne nest?" Steevens.
begot of thought,] i. e. of melancholy. So, in Julius Cesar : «
take thought, and die for Cæsar.” Steevens. I'll go find a shadow, and sigh till he come,] So, in Mac“Let us seek out some desolate shade, and there “Weep our sad bosoms empty.” Steevens.
Another Part of the Forest. Enter JAQUES and Lords, in the habit of Foresters. Jaq. 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,
Jaq. Sing it; 'tis no matter how it be in tune, so it make noise enough.
1. Then sing him home:
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.
The rest shall bear this burden,
6 His leather skin, and horns to wear.] Shakspeare seems to have formed this song on a hint afforded by the novel which furnished him with the plot of his play. " What news, Forrester? Hast thou wounded some deere, and lost him in the fall? Care not, man, for so small a losse; thy fees was but the skinne, the shoulders, and the horns.” Lodge's Rosalynde, or Euphues's Golden Legacie, 1592. For this quotation the reader is indebted to Mr. Malone.
So likewise in an ancient MS. entitled The Boke of Huntyng, that is cleped Mayster of Game: “ And as of fees, it is to wite that what man that smyte a dere atte his tree with a dethes stroke, and he be recouered by sonne going doune, he shall have the skyn,” &c.
Steevens. 7 Take thou no scorn, to wear the horn;] In King John in two parts, 1591, a play which our author had, without doubt, attentively read, we find these lines:
« But let the foolish Frenchman take no scorn,
“ If Philip front him with an English horn.” Malone. Thus also, in the old comedy of Grim the Collier of Croydon, (date unknown,)
The Forest. Enter ROSALIND and CELIA. Ros. How say you now? Is it not past two o'clock? and here much Orlando !9
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.
Enter SILVIUS. Sil. My errand is to you, fair youth;My gentle Phebe bid mel give you this: [Giving a letier.
Unless your great infernal majesty
“ Hereafter still to wear the goodly horn.". To take scorn is a phrase that occurs again in King Henry VI, P. I, Act IV, sc. iv:
“ And take foul scorn, to fawn on him by sending." Steevens. 8 The foregoing noisy scene was introduced only to fill up an interval, which is to represent two hours. This contraction of the time we might impute to poor Rosalind's impatience, but that a few minutes after we find Orlando sending his excuse. I do not see that by any probable division of the Acts this absurdity can be obviated. Fohnson.
9—and here much Orlando!] Thus the old copy. Some of the modern editors read, but without the least authority:
I wonder much, Orlando is not here. Steevens. The word much should be explained. It is an expression of latitude, and taken in various senses. Here's much Orlando i. e. Here is no Orlando, or we may look for him. We have still this use of it, as when we say, speaking of a person who we suspect will not keep his appointment, “ Ay, you will be sure to see him there much.” Whalley,
So the vulgar yet say, “I shall get much by that no doubt,” meaning that they shall get nothing. Malone.
Here much Orlando! is spoken ironically on Rosalind perceiving that Orlando had failed in his engagement. H. White.
Much, in our author's time, was an expression denoting admiration. So, in King Henry IV, P. II, Act II, sc. iv:
“What, with two points on your shoulder? much!!” Again, in The Taming of a Shrew:
"'Tis much!--Servant, leave me and her alone.” Malone. Much! was more frequently used to indicate disdain. See notes on the first of the two passages quoted by Mr. Malone.
Steevens. bid me ---] The old copy redundantly reads--did bid me.
I know not the contents; but, as I guess,
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,
2 Patience herself would startle at this letter,
Steevens. 3 Phebe did write it.
Ros. Come, come, you are a fool.
A freestone-colour'd hand;} As this passage now stands, the metre of the first line is imperfect, and the sense of the whole ; for why should Rosalind dwell so much pon Phebe's hands, lin. less Silvius had said something about them! I have no doubt but the line originally ran thus:
Phebe did write it with her own fair hand.
woman's gentle brain--] Old copy--women's. Corrected by Mr. Rowe. Malone.
Such Ethiop words, blacker in their effect
Sil. So please you, for I never heard it yet;
Art thou god to shepherd turn'd, [Reads.
That a maiden's heart hath burn'd?-
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 vengeances to me.-
If the scorn of your bright eyne
And then I'll study how to die.
vengeance - ] is used for mischief. Johnson.
Fohnson. So, in Antony and Cleopatra: “You must think this, look you, that the worm will do his hind.” Steevens.
-all that I can make;] i. e. raise as profit from any thing. So, in Measure for Measure: “He's in for a commodity of brown paper; of which he made five marks ready money.” Steevens.