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.

Ros. There is none of my 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?

a

Ros. A lean cheek; which you have not: a blue eye, and sunken ;* which you have not: an unquestionable spirit; (3) which you have not: a beard neglected; which you have not: (but I pardon * no, 1632. you for that; for, simply, your having in beard, is a younger brother's revenue:") Then your hose should be ungarter'd,(32) 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.

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?

a

⚫ a blue eye, and sunken] As evidencing languor and dejection. b your having in beard is a younger brother's revenue] Having is provision, or portion. Celia had just said, "Nay, he hath but little beard." See " the gentleman is of no having." M. W. of W. III. 2. Page.

point-device] As minutely exact as possible. See Tw. N. II. 5. Malv.

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 speak?

ORL. Neither rhyme nor reason can express how

much.

Ros. Love is merely a madness; and, I tell you, deserves as well a dark house and a whip, as madmen do: and the reason why they are not so punished and cured, is, that the lunacy is so ordinary, that the whippers are in love too: Yet I profess curing it by counsel.

ORL. Did you ever cure any so?

He was to

Ros. Yes, one; and in this manner. imagine me his love, his mistress; and I set him every day to woo me: At which time would I, being but a moonish youth," grieve, be effeminate, changeable, longing, and liking; proud, fantastical, apish, shallow, inconstant, full of tears, full of smiles; for every passion something, and for no passion truly any thing, as boys and women are for the most part cattle of this colour: would now like him, now loath him; then entertain him, then forswear him; now weep for him, then spit at him; that I drave my suitor from his mad humour of love, to a living humour of madness; which was, to forswear the full stream of the world, and to live in a nook merely monastick: And thus I cured him; and this way will I take

moonish] Shifting and changing.

from his mad humour of love, to a living humour of madness] "From those love-flights and extravagancies, which, to the imagination, present the image of madness, to others of a character so positive, as actually to constitute the character of madness itself:" thus conveying a sense in correspondence, as Mr. Whiter says, with "the phrases done or expressed to the life." Ib. p. 51. So it is also understood by Mr. Malone: but loving has been proposed, viz. a humour of loving to leave the world and live in a nook; which Rosalind calls madness; and that this should be substituted to preserve the antithesis.

clear,

1632.

upon me to wash your liver as clean as a sound sheep's heart, that there shall not be one spot of love in't.

ORL. I would not be cured, youth.

Ros. I would cure you, if you would but call me Rosalind, and come every day to my cote, and woo

me.

ORL. Now, by the faith of my love, I will; tell me where it is.

Ros. Go with me to it, and I'll show it you: and, by the way, you shall tell me where in the forest you live: Will you go?

ORL. With all my heart, good youth.

Ros. Nay, you must call me Rosalind :-Come, sister, will

you go?

[Exeunt.

SCENE III.

Enter TOUCHSTONE and AUDREY; (33) JAQUES at a distance, observing them.

TOUCH. Come apace, good Audrey; I will fetch up your goats, Audrey: And how, Audrey? am I the man yet? Doth my simple feature content you?"

AUD. Your features! Lord warrant us! what features?

TOUCH. I am here with thee and thy goats, as

• Doth my simple feature content you] Mr. Steevens observes, that Audrey's answer shews, that she must have put the sense of feats upon features; the word she uses in answer.

the most capricious poet, honest Ovid, was among the Goths.

JAQ. O knowledge ill-inhabited ! (34) worse than Jove in a thatch'd house! (35) [Aside.

TOUCH. When a man's verses cannot be understood, nor a man's good wit seconded with the forward child, understanding, it strikes a man more dead than a great reckoning in a little room :Truly, I would the gods had made thee poetical.

AUD. I do not know what poetical is: Is it honest in deed, and word? Is it a true thing?

TOUCH. No, truly; for the truest poetry is the most feigning; and lovers are given to poetry; and what they swear in poetry, may be said, as lovers, they do feign.

AUD. Do you wish then, that the gods had made me poetical?

TOUCH. I do, truly for thou swear'st to me, thou art honest; now, if thou wert a poet, I might have some hope thou didst feign.

AUD. Would you not have me honest?

TOUCH. No truly, unless thou wert hard-favour'd: for honesty coupled to beauty, is to have honey a sauce to sugar.

'capricious poet, honest Ovid, was among the Goths] Caper, capri. caperitious, capricious, fantastical, capering, goatish: and by a similar sort of process are we to smooth Goths into goats. The Goths, Mr. Upton says, are the Getæ. Ov. Trist. V.7.

b nor a man's good wit seconded with the forward child, understanding, it strikes a man more dead than a great reckoning, &c.] "Not to have the good things we say, conceived or apprehended, is more disheartening and mortifying, than an exorbitant charge, and ill fare and accommodation.'

what they swear in poetry, &c.] As that is not a true thing which is feigned; if the truest poetry is the most feigning," what is sworn in it by lovers, or others, must be false and feigned."

[Aside.

JAQ. A material fool !"

AUD. Well, I am not fair; and therefore I pray the gods make me honest!

TOUCH. Truly, and to cast away honesty upon a foul slut, were to put good meat into an unclean dish.

AUD. I am not a slut, though I thank the gods I am foul.(36)

TOUCH. Well, praised be the gods for thy foulness! sluttishness may come hereafter. But be it as it may be, I will marry thee: and to that end, I have been with Sir Oliver Mar-text, the vicar of the next village; who hath promised to meet me in this place of the forest, and to couple us.

JAQ. I would fain see this meeting.

AUD. Well, the gods give us joy!

[Aside.

TOUCH. Amen. A man may, if he were of a fearful heart, stagger in this attempt; for here we have no temple but the wood, no assembly but horn-beasts. But what though? Courage! As horns are odious, they are necessary. It is said, Many a man knows no end of his goods: right; many a man has good horns, and knows no end of them. Well, that is the dowry of his wife; 'tis none of his own getting. Horns? Even so: Poor men alone? No, no; the noblest deer hath them as huge as the rascal, (57) Is the single man therefore blessed? No: as a wall'd town is more worthier than a village, so is the forehead of a married man more honourable than the bare brow of a bachelor: and by how much defence is better than no skill, by so much is a horn more precious than to

want.

* A material fool] A fool, says Johnson, with matter in him, stocked with notions.

band by how much defence is better, &c.] Any means of defence is better than the lack of science; in proportion as something is to nothing.