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Cel. Trow you, who hath done this?
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 removed with earthquakes, and so encounter. 5
Ros. Nay, but who is it?
Ros. Nay, I pray thee now, with most petitionary vehemence, tell me who it is.
Cel. () wonderful, wonderful, and most wonderful wonderful, and yet again wonderful, and after that out of all whooping !
Ros. Good my complexion !7 dost thou think, though
by a poet's verses, as Rubonax was, to hang yourself, nor to be rimed to death, as is said to be done in Ireland -.” Malone.
- friends to meet;] Alluding ironically to the proverb:
“ Friends may meet, but mountains never greet." See Ray's Collection. Steevens.
but mountains may be removed with earthquakes, and so encounter.] “ Montes duo inter se concurrerunt,” &c. says Pliny, Hist. Nat. Lib. II, c. Ixxxiii, or in Holland's translation: “Two hills (removed by an earthquake) encountered together, charging as it were, and with violence assaulting one another, and retyring again with a most mighty noise.” Tollet.
out of all whooping!] i.e. out of all measure, or reckoning. So, in the old ballad of Yorke, Yorke for my Money, &c. 1584:
“ And then was shooting, out of cry,
“The skantling at a handful nie. Again, in the old bl. 1. comedy called Common Conditions:
“I have beraed myself out of cry.” Steevens. This appears to have been a phrase of the same import as another formerly in use, “out of all cry.” The latter seems to allude to the custom of giving notice by a crier of things to be sold. So, in A Chaste Maide of Cleapside, a comedy, by T. Middleton, 1630: “I'll sell all at an outcry.” Malone.
An outery is still a provincial term for an auction. Steevens.
7 Good my complexion!] This is a more of expression, Mr. Theobald says, which he cannot recmeile to common sense. Like enough: and so too the Oxford editor. But the meaning is-Hold good my complexion, i. e. let me not blush. Warburton.
Good my complexion!] My native character, my female inqui. sitive disposition, canst thou endure this !-For thus character.
I am caparison'd like a man, I have a doublet and hose in my disposition? One inch of delay more is a South-seaoff discovery.8 I pr’ythee, tell me, who is it? quickly, and speak apace: I would thou couldst stammer, that thou might'st pour this concealed man out of thy mouth, as wine comes out of a narrow-mouth'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.
izing the most beautiful part of the creation, let our author an
Malone. Good my complexion! is a little unmeaning exclamatory address to her beauty; in the nature of a small oath. Ritson.
8 One inch of delay more is a South-sea-off discovery.] The old copy reads-is a South-sea of discoverie.
Steevens. This is stark 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 South-sea is.
Warburton. This sentence is rightly noted by the commentator as nonsense, but not so happily restored to sense. I read thus:
One inch of delay more is a South-sea. Discover, I proythee; tell me who is it quickly! - When the transcriber had once made discovery from discover I, he easily put an article after South-sea. But it may be read with still 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 longes voyage, as a voyage of discovery on the South-sea. How much voyages to the South-sea on which the English had then first ventured, engaged the conversation of that time, may be easily imagined. Johnson,
Of for off, is frequent in the elder writers. A South-sea of discovery is a discovery a South-sea off--as far as the South-sea.
Farmer. Warburton's sophistication ought to have been reprobated, and the old, which is the only reading that can preserve the sense of Rosalind, restored. A South-sea of discovery, is not a discovery, as FAR OFF, but as coMPREHENSIVE as the South-sea; which, being the largest in the world, affords the widest scope
for exer. cising curiosity. Henley.
On a further consideration of this passage I am strongly in. clined to think, with Dr. Johnson, that we should read a Southsea discovery. “Delay, however short, is to me tedious and irk. some as the longest voyage, as a voyage of discovery on the South-sea.” The word of, which had occurred just before, might have been inadvertently repeated by the compositor.
Ros. 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.
Ros. 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.
Ros. Nay, but the devil take mocking; speak sad brow, and true maid.9
Cel. l' faith, coz, 'tis he.
Ros. 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?i What makes he here? Did he ask for me? Where remains he? How parted he with thee? and when shalt 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 size: To say, ay, and no, to these particulars, is more than to answer in a catechism.
Ros. But doth he know that I am in this forest, and
speak sad brow, and true maid.] i.e. speak with a grave countenance, and as truly as thou art a virgin; speak seriously and honestly. Ritson.
1 Wherein went he?] In what manner was he clothed? How did he go dressed? Heath.
Garagantua's mouth -] Rosalind requires nine ques. tions to he 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. Fohnson.
Garagantua swallowed five pilgrims, their staves and all, in a sallad. It appears from the books of the Stationers' Company, that in 1592 was published, “Garagantua his Prophecie.” And in 1594, “ A booke entitled, The History of Garagantua.” The book of Garagantua is likewise mentioned in Laneham's Narrative of Queen Elizabeth's Entertainment at Kenelworth Castle, in 1575. Some translator of one of these pieces is censured by Hall, in his second Book of Satires :
“ But who conjurd, &c.
in man's apparel? Looks he as freshly as he did the day he wrestled?
Cel. It is as easy to count atomies,3 as to resolve the propositions of a lover:—but take a taste of my finding him, and relish it with a good observance. I found him under a tree, like a dropp'd acorn.
Ros. It may well be callid Jove's tree, when it drops forth such fruit. 4
Cel. Give me audience, good madam.
Cel. There lay he, stretch'd along, like a wounded knight.
Ros. Though it be pity to see such a sight, it well becomes the ground.5
Cel. Cry, holla! to thy tongue, I prythee; it curvets very unseasonably. He was furnish'd like a hunter.
Ros. O ominous! he comes to kill my heart.?
to count atomies,] Atomies are those minute particles discernible in a stream of sunshine that breaks into a darkened room. Henley.
“ An atomie, (says Bullokar, in his English Expositor, 1616) is a mote flying in the sunne. Any thing so small that it cannot be made lesse.” Malone.
- when it drops forth such fruit.] The old copy readswhen it drops forth fruit. The word such was supplied by the editor of the second folio. I once suspected the phrase, “when it drops forth,” to be corrupt; but it is certainly our author's; for it occurs again in this play:
woman's gentle brain “ Could not drop forth such giant-rude invention.” This passage serves likewise to support the emendation that has been made. Malone.
such a sight, it well becomes the ground.] So, in Hamlet :
Such a sight as this " Becomes the field,” Steevens. 6 Cry, holla! to thy tongue,] The old copy has—the tongue. Corrected by Mr. Rowe. Holla was a term of the menage, by which the rider restrained and stopp'd bis horse. So, in our au. thor's Venus and Adonis :
“ What recketh he his rider's angry stir,
“ His flattering holla, or his stand I say?"! The word is again used in Othello, in the same sense as here:
“ Holla! stand there.” Malone. Again, in Cotton's Wonders of the Peak:
“ But I must give my muse the hola here.” Reed.
Cel. I would sing my song without a burden: thou bring'st me out of tune.
Ros. Do you not know I am a woman? when I think, I must speak. Sweet, say on.
Enter ORLANDO and JAQUES. Cel. You bring me out:-Soft! comes he not here? Ros. 'Tis he; slink by, and note him.
(CEL. and Ros. retire. Jaq. I thank you for your company; but, good faith, I had as lief have been myself alone.
Orl. And so had I; but yet, for fashion sake, I thank you too for your society.
Jaq. God be with you; let 's meet as little as we can. Orl. I do desire we may be better strangers.
Jaq. I pray you, mar no more trees with writing lovesongs in their barks.
Orl. I pray you, mar no more of my verses with reading them ill-favouredly.
Jaq. Rosalind is your love's name?
Ori. There was no thought of pleasing you, when she was christen’d.
Jaq. What stature is she of?
Jaq. You are full of pretty answers: Have you not been acquainted with goldsmiths' wives, and conn'd them out of rings?
Orl. Not so; but I answer you right painted cloth, 8 from whence you have studied your questions.
7 — to kill my heart.] A quibble between heart and hart.
Steevens. Our author has the same expression in many other places. So, in Love's Labour's Lost:
Why, that contempt will kill the speaker's heart.” Again, in his Venus and Adonis:
they have murder'd this poor heart of mine." But the preceding word, hunter, shows that a quibble was here intended between heart and hart. In our author's time the latter word was often written instead of heart, as it is in the present instance, in the old copy of this play. Malone.
but I answer you right painted cloth,] This alludes to the fashion in old tapestry hangings, of mottos and moral sentences