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(As, by my faith, I see no more in you
Than without candle may go dark to bed,)
Must you be therefore proud and pitiless ?
Why, what means this? Why do you look on

I see no more in you, than in the ordinary
Of nature's sale-work:'-Od's my little life !
I think, she means to tangle my eyes too:
No, 'faith, proud mistress, hope not after it;
'Tis not your inky brows, your black-silk hair,
Your bugle eye-balls, nor your cheek of cream,
That can entame my spirits to your worship.-
You foolish shepherd, wherefore do you follow

her, Like foggy south, puffing with wind and rain? You are a thousand times a properer man, Than she a woman: 'Tis such fools as you, That make the world full of ill-favour'd children: 'Tis not her glass, but you, that flatters her; And out of you she sees herself more proper, Than any of her lineaments can show her.But, mistress, know yourself; down on your knees, And thank heaven, fasting, for a good man's love: For I must tell you friendly in your ear,Sell when you can; you are not for all markets : Cry the man mercy; love him ; take his offer; Foul is most foul, being foul to be a scoffer. So, take her to thee, shepherd ;—fare you well. Phe. Sweet youth, I pray you chide a year to

gether; I had rather hear you chide, than this man woo.

Ros. He's fallen in love with her foulness, and

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.

? 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.* Come, to our flock.

[Exeunt ROSALIND, Celia, and Corin. Phe. Dead shepherd ! now I find thy saw of

Who ever lov'd, that lov'd not at first sight? 4

Sil. Sweet Phebe,-

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 ; If

you do sorrow at my grief in love, By giving love, your sorrow and my grief Were both extermin'd. 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;

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. * 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:
But since that thou canst talk of love so well,
Thy company, which erst was irksome to me,
I will endure; and I'll employ thee too:
But do not look for further recompense,
Than thine own gladness that thou art employ’d.

Sil. So holy, and so perfect is my love,
And I in such a poverty of grace,
That I shall think it a most plenteous crop
To glean the broken ears after the man
That the main harvest reaps: loose now and then
A scatter'd smile, and that I'll live upon.
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

He'll make a proper man: The best thing in him
Is his complexion; and faster than his tongue
Did make offence, his eye did heal it up.
He is not tall; yet for his years he's tall:
His leg is but so so; and yet 'tis well:
There was a pretty redness in his lip;
A little riper and more lusty red

5 That the old carlot -] i. e. peasant, from carl or churl; probably a word of Shakspeare's coinage.

a peevish boy:] Peevish, in ancient language, signifies weak, silly.


Than that mix'd in his cheek; 'twas just the dif

ference Betwixt the constant red, and mingled damask. There be some women, Silvius, had they mark'd

In parcels as I did, would have gone near
To fall in love with him: but, for my part,
I love him not, nor hate him not; and yet
I have more cause to hate him than to love him:
For what had he to do to chide at me?
He said, mine eyes were black, and my hair black;
And, now I am remember'd, scorn'd at me:
I marvel, why I answer'd not again:
But that's all one; omittance is no quittance.
I'll write to him a very taunting letter,
And thou shalt bear it; Wilt thou, Silvius?

Sil. Phebe, with all my heart.

I'll write it straight; The matter's in my head, and in my

heart: I will be bitter with him, and passing short: Go with me, Silvius.



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 sadness.

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


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!


which is nice;] i. e. silly, trifling. disable--] i. e. undervalue.

swam in a gondola.] That is, been at Venice, the seat at that time of all licentiousness, where the young English gentlemen


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