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But upon the fairejt boughs,

Or at every sentence end,
Will I Rosalinda write;

Teaching all, that read, to know,
This quintessence of every Sprite

Heaven would in little low.
Therefore heaven nature cbargod,

I hat one body should be fill'd
With all graces wide enlarg’d:

Nature presently distilld
Helen's cheeks, but not ber heart;

Cleopatra's majesty ;
Atalanta's better part;

+ Sad Lucretia's modesty.
Thus Rosalind of many parts

By heavenly fynod was devis'd;

3

* Therefore heaven nature charg'd.) From the pi&ture of Apel, les, or the accomplishments of Pandora.

Πανδώρην, ότι κάνει ολύμπια δώματ' έχουλες

Δώρον έδώρησαν. .
So before,

But thou
So perfia, and so peerless art created

Of ev'ry creature's beft. Tempeft.
Perhaps from this passage Swift had his hint of Biddy Floyd.

JOHNSON 3 Aralanta's better part.] I know not well what could be the better part of Atalanta here ascribed to Rosalind. Of the Atalanta most celebrated, and who therefore must be intended here where she has no epithet of discrimination, the better part seems to have been her heels, and the worse part was so bad that Rosalind would not thank her lover for the comparison. There is a more obscure Atalanta, a huntress and a heroine, but of her nothing bad is recorded, and therefore I know not which was the better part. Shakespeare was no despicable mythologist, yet he seems here to have mistaken fome other character for that of Atalanta. JOHNSON * Sad) is grau, suber, not light. Johnson,

of Of many faces, eyes, and hearts,

To bave the touchess deareft priz'd. Heaven would that she these gifts should have,

And I to live and die ber lave. Ros. O molt gentle Jupiter !-what tedious homily of love have you wearied your parishioners withal, and never cry'd, Have patience, good people !

Cel. How now! back-friends! - Thepherd, go off a little :- go with him, firrah.

Clo. Come, shepherd, let us make an honourable retreat; tho'not with bag and baggage, yet with scrip and scrippage.

[Exit Corin and Clown. Cel. Didit thou hear these verses?

Roj. O yes, I heard them all, and more too; for fome of them had in them more feet than the verses would bear.

Cel. That's no matter; the feet might bear the verses.

Rof. Ay, but the feet were lame, and could not bear themselves without the verse, and therefore stood lamely in the verse.

Cel. But didst thou hear, without wondring how thy name should be hang'd and carv'd upon these

trees?

Rof. I was seven of the nine days out of wonder, before you came ; for, look here, what I found on a palm-tree: 'I was never so be-rhimed Gince Pytha

goras's

s The touches.] The features ; les traits. Johnsor.

I was never fo be-rhymed since Pythagoras's time, that I was an Irish rat.] Rosalind is a very learned lady. She alludes to the Pythagorean doctrine, which teaches that souls tranfmigrate from one animal to another, and relates that in his time she was an Irish rat, and by some metrical charm was rhymed to death. The power of killing rats with rhymes Donne mentions in his Satires, and Temple in his Treatises. Dr. Gray has produced a fimilar passage from Randolph.

My

1

goras's time, that I was an Irish rat, which I can
hardly remember.

Cel. Trow you, who hath done this?
Rof. Is it a man?

Cel. And a chain, that you once wore, about his neck : change you colour?

Ros I pr’ythee, who?

Cel. O Lord, Lord ! it is a hard matter for friends to meet; but mountains may be remov'd with earthquakes, and fo encounter.

Rof. Nay, but who is it?
Cel. Is it possible?

Ros. Nay, I pry'thee now, with most petitionary vehemence, tell me who it is.

Cel. O wonderful, wonderful, and moft wonderful wonderful, and yet again wonderful, and after that out of all whooping -

Rof. ? Good my complexion ! dost thou think, though I am caparison'd like a man, I have a doublec and hose in my disposition ? *One inch of delay more

is
-My poets
Sball with a jaytire fleeped in vinegar
Rbyme them to death as ibey do rats in Ireland.

Johnson.
So in Dr. Dodypoll, a comedy, 1600 :
-he rhyme de grand rats from my house."

STEEVENS. Good my complexion !) This is a mode of exprefron, Mr. Theobald fays, which be cannot reconcile to common sense. Like enough: and fo too the Oxford editor. But the meaning is, Hold good my complexion, i. e. let me not blush. WARBURTON.

* One inch of delay more is a South-sea of discovery.) This is Nark nonsense ; we must read-off discovery, i. e. from discovery.. “ If you delay me one inch of time longer, I shall think " this secret as far from discovery as the Scurb-fia is.”

WARBURTON. This sentence is rightly noted by the commentator as nonsense, but not so happily restored to sense. I read thus :

One

is a South-sea of discovery. I pr’ythee, tell me, who is it: quickly, and speak apace. I would thou couldft stammer, that thou might’it pour this concealed man qut of thy mouth, as wine comes out of a narrowmouth'd bottle; either too much at once, or none at all. I pr’ythee take the cork out of thy mouth, that I may drink thy tidings.

Cel. So you may put a man in your belly.

Rof. Is he of God's making? What manner of man? Is his head worth a hat, or his chin worth a beard?

Cel. Nay, he hath but a little beard.

Ref. Why, God will send more, if the man will be thankful: let me stay the growth of his beard, if thou delay me not the knowledge of his chin.

Cel. It is young Orlando, that tripp'd up the wrestler's heels, and your heart, both in an instant.

Ref. Nay, but the devil take mocking; speak, sad brow, and true maid.

Cel. I'faith, coz, 'tis he.
Rof. Orlando?
Cel. Orlando.

Rof. Alas the day! what shall I do with my doublet and hose! What did he, when thou saw'st him? What said he? How look'd he? Wherein went he? What makes he here? Did he ask for me? Where

One incb of delay more is a South-fea. Discover, I pr'ythee; tell me who is it quickly!When the transcriber had once made discovery from discover, I, he easily put an article after Southsea. But it may be read with Aill less change, and with equal probability. Every inch of delay more is a South-sea discovery: Every delay, however short, is to me tedious and irksome as the longest voyage, as a voyage of discovery on the South-fra. How much voyages to the South-sea, on which the English had then first ventured, engaged the converfation of that time, may be easily imagined. JOHNSON,

re.

remains he? How parted he with thee? and when Ihalt thou see him again? Answer me in one word.

Cel. You must borrow me Garagantua's ' mouth first; 'tis a word too great for any mouth of this age's faze. To say, ay, and no, to these particulars, is more than to answer in a catechism.

Rof. But doth he know that I'am in this forest, and in man's apparel ? Looks he as freshly as he did the day he wrestled ?

Cel. It is as easy to count atoms, as to resolve the propositions of a lover :--but take a taste of my find ing him, and relish it with good observance. I found him under a tree like a dropp'd acorn.

Rof. It may well be callid Jove's tree, when it drops forth such fruit.

Cel. Give me audience, good madam.
Rof. Proceed.

Cel. There lay he, stretch'd along, like a wounded knight.

Roj. Tho'it be pity to see such a sight, it well be. comes the ground.

Cel. Cry, holla! to thy tongue, I pr’ythee ; it curvets unfeasonably. He was furnish'd like a hunter.

Rof. Oh, ominous ! he comes to kill my heart. Cel

. I would sing my song without a burden: thou bring'st me out of tune.

-Garagantua's mouth.] Rosalind requires nine questions to be answered in one word. Celia tells her that a word of such magnitude is too big for any mouth but that of Garagantua the giant of Rabelais. JOHNSON.

1:- I found him under a tree like a droppid acorn.] We Tould read,

Under an AN OAK tree.
This appears from what follows-like a dropp'd acorn.

n. For how did he look like a dropp'd acorn unless he was found under an oak tree. And from Rosalind's reply, that it might well be called fove's true : for the oak was sacred to Jove. WARBURTON. What tree but an oak was ever known to drop an acorn?

STEEVENS.

RS.

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