ORL. I will chide no breather in the world," but myself; against whom I know most faults.

JAQ. The worst fault you have, is to be in love. ORL. 'Tis a fault I will not change for your best virtue. I am weary of you.

JAQ. By my troth, I was seeking for a fool, when I found you.

ORL. He is drown'd in the brook; look but in, and you shall see him.

JAQ. There shall I see mine own figure.

ORL. Which I take to be either a fool, or a cypher.

JAQ. I'll tarry no longer with you: farewell, good signior love.

ORL. I am glad of your departure; adieu, good monsieur melancholy.

[Exit JAQUES.-CELIA and ROSALIND come forward.

Ros. I will speak to him like a saucy lacquey, and under that habit play the knave with him.-Do you hear, forester ?

ORL. Very well; What would you?

Ros. I pray you, what is't a clock?

ORL. You should ask me, what time o'day;. there's no clock in the forest.

Ros. Then there is no true lover in the forest; else sighing every minute, and groaning every hour,

9

Sonnet:

no breather in the world,] So, in our author's 81st

"When all the breathers of this world are dead." Again, in Antony and Cleopatra:

"She shows a body, rather than a life;

"A statue, than a breather." MALONE,

would detect the lazy foot of time, as well as a clock.

ORL. And why not the swift foot of time? had not that been as proper?

Ros. By no means, sir: Time travels in divers paces with divers persons: I'll tell you who time ambles withal, who time trots withal, who time gallops withal, and who he stands still withal.

ORL. I pr'ythee, who doth he trot withal?

Ros. Marry, he trots hard with a young maid, between the contract of her marriage,' and the day it is solemnized: if the interim be but a se'nnight, time's pace is so hard that it seems the length of seven years.

ORL. Who ambles time withal?

Ros. With a priest that lacks Latin, and a rich man that hath not the gout: for the one sleeps easily, because he cannot study; and the other lives merrily, because he feels no pain: the one lacking the burden of lean and wasteful learning; the other knowing no burden of heavy tedious penury: These time ambles withal.

ORL. Who doth he gallop withal?

Ros. With a thief to the gallows: for though he go as softly as foot can fall, he thinks himself too soor there.

ORL. Who stays it still withal?

Ros. With lawyers in the vacation: for they sleep

'Marry, he trots hard with a young maid, between the contract &c.] And yet, in Much Ado about Nothing, our author tells us, "Time goes on crutches, till love hath all his rites." In both passages, however, the interim is equally represented as tedious. MALone.

between term and term, and then they perceive not how time moves.

ORL. Where dwell you, pretty youth?

Ros. With this shepherdess, my sister; here in the skirts of the forest, like fringe upon a petticoat. ORL. Are you native of this place?

Ros. As the coney, that you see dwell where she

is kindled.

ORL. Your accent is something finer than you could purchase in so removed a dwelling.

3

Ros. I have been told so of many: but, indeed, an old religious uncle of mine taught me to speak, who was in his youth an in-land man; one that knew courtship too well, for there he fell in love. I have heard him read many lectures against it; and I thank God, I am not a woman, to be touch'd with so many giddy offences as he hath generally tax'd their whole sex withal.

ORL. Can you remember any of the principal evils, that he laid to the charge of women?

3

removed] i, e. remote, sequestered. REED. So, in A Midsummer-Night's Dream, folio, 1623: "From Athens is her house remov'd seven leagues.”

STEEVENS.

in-land man ;] Is used in this play for one civilised, in opposition to the rustick of the priest. So, Orlando, before; "Yet am I inland bred, and know some nurture."

See Marlowe's Hero and Leander, 1598:

JOHNSON.

"His presence made the rudest peasant melt, "That in the vast uplandish countrie dwelt." Again, in Puttenham's Arte of Poesie, 4to. 1589, fol. 120: or finally in any uplandish village or corner of a realm, where is no resort but of poor rusticall or uncivill people."

MALONE.

Again, in Chapman's version of the 24th Iliad:
-but lion-like, uplandish, and meere wilde."

66

STEEVENS,

Ros. There were none principal; they were all like one another, as half-pence are: every one fault seeming monstrous, till his fellow fault came to match it.

ORL. I pr'ythee, recount some of them.

Ros. No; I will not cast away my physick, but on those that are sick. There is a man haunts the forest, that abuses our young plants with carving Rosalind on their barks; hangs odes upon hawthorns, and elegies on brambles; all, forsooth, deifying the name of Rosalind: if I could meet that fancy-monger, I would give him some good counsel, for he seems to have the quotidian of love upon him.

ORL. I am he that is so love-shaked; I pray you, tell me your remedy.

my

Ros. There is none of uncle's marks upon you he taught me how to know a man in love; in which cage of rushes, I am sure, you are not prisoner.

ORL. What were his marks?

Ros. A lean cheek; which you have not: a blue eye,' and sunken; which you have not: an unquestionable spirit; which you have not a beard neg

5

a blue eye,] i. e, a blueness about the eyes.

STEEVENS,

an unquestionable spirit;] That is, a spirit not inquisitive, a mind indifferent to common objects, and negligent of common occurrences. Here Shakspeare has used a passive for an active mode of speech: so, in a former scene, Duke is too disputable for me," that is, too disputatious.

May it not mean, unwilling to be conversed with?

"The

JOHNSON.

CHAMIER,

Mr. Chamier is right in supposing that it means a spirit averse

to conversation.

6

lected; which you have not:-but I pardon you for that; for, simply, your having in beard is a younger brother's revenue:-Then your hose should be ungarter'd,' your bonnet unbanded, your sleeve unbuttoned, your shoe untied, and every thing about you demonstrating a careless desolation. But you are no such man; you are rather point-device in your accoutrements; as loving yourself, than seeming the lover of any other.

8

So, in A Midsummer-Night's Dream, Demetrius says to Helena

"I will not stay your question."

And, in The Merchant of Venice, Antonio says

yes

"I pray you, think you question with the Jew." In the very next scene, Rosalind says-" I met the Duke terday, and had much question with him." And in the last scene, Jaques de Bois says "The Duke was converted after some question with a religious man." In all which places, question means discourse or conversation. M. MASON.

6 your having-] Having is possession, estate. So, in The Merry Wives of Windsor: "The gentleman is of no having." STEEVens.

7

Then your hose should be ungarter'd, &c.] These seem to have been the established and characteristical marks by which the votaries of love were denoted in the time of Shakspeare. So, in The fair Maid of the Exchange, by Heywood, 1637:"Shall I, that have jested at love's sighs, now raise whirlwinds! Shall I, that have flouted ah me's once a quarter, now practise ah me's every minute? Shall I defy hat-bands, and tread garters and shoe-strings under my feet? Shall I fall to falling bands, and be a ruffian no longer? I must; I am now liegeman to Cupid, and have read all these informations in the book of his statutes." Again, in A pleasant Comedy how to chuse a good Wife from a bad, 1602:

66 I was once like thee

"A sigher, melancholy humorist,

"Crosser of arms, a goer without garters,

"A hat-band hater, and a busk-point wearer."

MALONE. -point-device-] i. e. exact, drest with finical nicety. So, in Love's Labour's Lost: "I hate such insociable and pointdevice companions." STEEVENs.