(As, by my faith, I see no more in you me? you look on I see no more in you, than in the ordinary her, follow Like foggy south, puffing with wind and rain? I had rather hear you chide, than this man woo. 1 Of nature's sale-work:] The allusion is to the practice of mechanicks, whose work bespoke is more elaborate than that which is made up for chance customers. 2 Foul is most foul, being foul to be a scoffer.] The sense is, The ugly seem most ugly, when, though ugly, they are scoffers. she'll fall in love with my anger; If it be so, as fast as she answers thee with frowning looks, I'll sauce. her with bitter words.-Why look you so upon me? Phe. For no ill will I bear you. Ros, I pray you, do not fall in love with me, For I am falser than vows made in wine: Besides, I like you not: If you will know my house, "Tis at the tuft of olives, here hard by : - Will you go, sister?-Shepherd, ply her hard :Come, sister-Shepherdess, look on him better, And be not proud: though all the world could see, None could be so abus'd in sight as he,3 [Exeunt ROSALIND, CELIA, and CORIN. Phe. Dead shepherd! now I find thy saw of might; Who ever lov'd, that lov'd not at first sight? + If Sil. Sweet Phebe, Phe, Ha! what say'st thou, Silvius? Sil. Sweet Phebe, pity me: Phe. Why, I am sorry for thee, gentle Silvius. Sil. Wherever sorrow is, relief would be; you do sorrow at my grief in love, By giving love, your sorrow and my grief Phe. Thou hast my love; Is not that neigh bourly? Sil. I would have you. Phe. Why, that were covetousness, Silvius, the time was, that I hated thee; 3 though all the world could see, None could be so abus'd in sight as he.] Though all mankind could look on you, none could be so deceived as to think you beautiful but he. JOHNSON. 4 * Dead shepherd! now I find thy saw of might; Who ever lov'd, that lov'd not at first sight?] The second of these lines is from Marlowe's Hero and Leander, 1637, And yet it is not, that I bear thee love: That I shall think it a most plenteous crop Phe. Know'st thou the youth that spoke to me ere while? Sil. Not very well, but I have met him oft; And he hath bought the cottage, and the bounds, That the old carlot" once was master of. Phe. Think not I love him, though I ask for him; 'Tis but a peevish boy:-yet he talks well;— But what care I for words? yet words do well, When he that speaks them pleases those that hear. It is a pretty youth:-not very pretty: But, sure, he's proud; and yet his pride becomes him: He'll make a proper man: The best thing in him 3 That the old carlot] i. e. peasant, from carl or bably a word of Shakspeare's coinage. 6 churl; pro a peevish boy.] Peevish, in ancient language, signifies weak, silly. Than that mix'd in his cheek; 'twas just the difference Betwixt the constant red, and mingled damask. There be some women, Silvius, had they mark'ḍ himn In parcels as I did, would have gone near He said, mine eyes were black, and my hair black; I marvel, why I answer'd not again; And thou shalt bear it; Wilt thou, Silvius? Phe. [Exeunt. ACT IV. SCENE I. The same. Enter ROSALIND, CELIA, and JAQUES. Jaq. I pr'ythee, pretty youth, let me be better acquainted with thee. Ros. They say, you are a melancholy fellow. Jaq. I am so; I do love it better than laughing. Ros. Those, that are in extremity of either, are abominable fellows; and betray themselves to every modern censure, worse than drunkards. Jaq. Why, 'tis good to be sad and say nothing. Ros. Why then, 'tis good to be a post. Jaq. I have neither the scholar's melancholy, which is emulation; nor the musician's, which is fantastical; nor the courtier's, which is proud; nor the soldier's, which is ambitious; nor the lawyer's, which is politick; nor the lady's, which is nice; nor the lover's, which is all these: but it is a melancholy of mine own, compounded of many simples, extracted from many objects: and, indeed, the sundry contemplation of my travels, in which my often rumination wraps me, is a most humorous sad ness. Ros. A traveller! By my faith, you have great reason to be sad: I fear, you have sold your own lands, to see other men's; then, to have seen much, ́ and to have nothing, is to have rich eyes and poor hands. Jaq. Yes, I have gained my experience. Enter ORLANDO. Ros. And your experience makes you sad: I had rather have a fool to make me merry, than experience to make me sad; and to travel for it too. Orl. Good day, and happiness, dear Rosalind! Jaq. Nay then, God be wi' you, an you talk in blank verse. [Exit. Ros. Farewell, monsieur traveller: Look, you lisp, and wear strange suits; disable all the benefits of your own country; be out of love with your nativity, and almost chide God for making you that countenance you are; or I will scarce think you have swam in a gondola.'-Why, how now, Orlando! 7 8 9 which is nice;] i. e. silly, trifling. swam in a gondola.] That is, been at Venice, the seat at that time of all licentiousness, where the young English gentlemen |