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Ros. Though it be pity to see such a sight, it well becomes the ground.
Cel. Cry, holla! to thy tongue, I pr’ythee; it Curvets very unseasonably. He was furnish'd like a hunter.
Ros. O ominous ! he comes to kill my heart."
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.
[Celia and Rosalind 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
your society. Jaq. God be with you; let's meet as little as we Orl. I do desire we may be better strangers.
Jaq. I pray you, mar no more trees with writing love-songs 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?
Orl. There was no thought of pleasing you, when she was christen'd.
Jaq. What stature is she of?
3 Cry, holla! to thy tongue,] Holla was a term of the manege, by which the rider restrained and stopp'd his horse.
to kill my heart.] A quibble between heart and hart.
Orl. Just as high as my heart.
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, from whence you have studied your questions.
Jaq. You have a nimble wit; I think it was made of Atalanta's heels. Will you sit down with me? and we two will rail against our mistress the world, and all our misery: * 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.
Ori. 'Tis a fault I will not change for virtue. I am weary
you. Jaq. By my troth, I was seeking for a fool, when I
Orl. He is drown'd in the brook ; look but in, and you
shall see him. Jag. 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?
- but I answer you right painted cloth.] This alludes to the fashion in old tapestry hangings, of mottos and moral sentences from the mouths of the figures worked or painted in them.
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, 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 trøt 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 soon there.
Orl. Who stays it still withal ?
Ros. With lawyers in the vacation : for they sleep 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.
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?
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
Orl. I am he that is so love-shaked; I pray you, tell me your remedy.
Ros. There is none of my uncle's marks upon you: he taught me how to know a man in tove;
removed] i, e, remote, sequestered.
in-land man ;] Is used in this play for one civilised, in opposition to the rustick of the priest.
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 neglected; 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-devices in your accoutrements; as loving yourself, than seeming the lover of any other.
Orl. Fair youth, I would I could make thee believe I love.
Ros. Me believe it? you may as soon make her that
you love believe it; which, I warrant, she is apter to do, than to confess she does; that is one of the points in the which women still give the lie to their consciences. But, in good sooth, are you he that hangs the verses on the trees, wherein Rosalind is so admired
Orl. I swear to thee, youth, by the white hand of Rosalind, I am that he, that unfortunate he.
Ros. But are you so much in love as your rhymes
Orl. Neither rhyme nor reason can express how much.
a blue eye,] i. e. a blueness about the eyes.
an unquestionable spirit ;] That is, a spirit unwilling to be conversed with.
your having -] Having is possession, estate. 2 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. 3
point-device -] i. e. exact, drest with finical nieety.