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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?



Enter TouchsTONE and AUDREY;3 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 ?4

Audrey ;] Is a corruption of Etheldreda. The saint of that name is so styled in ancient calendars. STEEVENS.

* Doth my simple feature content you?] Says the Clown to Audrey. “ Your features ! (replies the wench,) Lord warrant us! what features ?” I doubt not, this should be your feature! Lord warrant us! what's feature? FARMER.

Feat and feature, perhaps, had anciently the same meaning. The Clown asks, if the features of his face content her, she takes the word in another sense, i. e. feats, deeds, and in her reply seems to mean, what feats, i. e. what have we done yet? The courtship of Audrey and her gallant had not proceeded further, as Sir Wilful Witwood says, than a little mouth-glue ; but she supposes him to be talking of something which as yet he had not performed. Or the jest may turn only on the Clown's pronunciation. In some parts, features might be pronounced, faitors, which signify rascals, low wretches. Pistol uses the word in The Second Part of King Henry IV. and Spenser very frequently: STEEVENS.

· Aud. Your features! Lord warrant us! what features ?

TOUCH. I am here with thee and thy goats, as the most capricious poet, honest Ovid, was among the Goths...?

JAQ. O knowledge ill-inhabited ! 6 worse than Jove in a thatch'd house!

[Aside. TOUCH. When a man's verses cannot be unders stood, nor a man's good wit seconded with the form

In Daniel's Cleopatra, 1594, is the following couplet:

“ I see then, artless feature can content,
.And that true beauty needs no ornament.”..,
Again, in The Spanish Tragedy:

" It is my fault, not she, that merits blame;
“ My feature is not to content her sight;

« My words are rude, and work her no delight." Feature appears to have formerly signified the whole countenance. So, in King Henry VI. P. I:

“ Her peerless feature, joined with her birth,

“ Approves her fit for none but for a king." Malone. s as the most capricious poet, honest Ovid, was among the Goths.] Capricious is not here humoursome, fantastical, &c. but lascivious. Hor. Epod. 10. Libidinosus immolabitur caper. The Goths are the Getæ. Ovid. Trist. V. 7. The thatch'd house is that of Baucis and Philemon. Ovid. Met. VIII. 630. Stipulis et canna tecta palustri. Upton.

Mr. Upton is, perhaps, too refined in his interpretation of capricious. Our author remembered that caper was the Latin for a goat, and thence chose this epithet. This, I believe, is the whole. There is a poor quibble between goats and Goths.'

MALONE. 6- ill-inhabited i. e. ill-lodged. An unusual sense of the word.

A similar phrase occurs in Reynolds’s God's Revenge against Murder, Book V. Hist. 21 : “ Pieria's heart is not so ill lodged, nor her extraction and quality so contemptible, but that she is very sensible of her disgrace.” Again, in The Golden Legend, Wynkyn de Worde's edit. fol. 196: “ I am ryghtwysnes that am enhabited here, and this hous is myne, and thou art not ryghtwyse.” STEEVENS.


ward 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; ånd 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

7- it strikes a man more dead than a great reckoning in a little room :] Nothing was ever wrote in higher humour than this simile. A great reckoning, in a little room, implies that the entertainment was mean, and the bill extravagant. The poet here alluded to the French proverbial phrase of the quarter of an hour of Rabelais : who said, there was only one quarter of an hour in human life passed ill, and that was between the calling for the reckoning and paying it. Yet the delicacy of our Oxford editor would correct this into-It strikes a man more dead than a great reeking in a little room. This is amending with a vengeance. When men are joking together in a merry humour, all are disposed to laugh. One of the company says a good thing: the jest is not taken; all are silent, and he who said it, quite confounded, This is compared to a tavern jollity interrupted by the coming in of a great reckoning. Had not Shakspeare reason now in this case to apply his simile to his own case, against his critical editor? Who, it is plain, taking the phrase to strike dead, in a literal sense, concluded, from his knowledge in philosophy, that it could not be so effectually done by a reckoning as by a reeking. WARBURTON. ¿'_ and what they swear in poetry, &c.] This sentence seems perplexed and inconsequent: perhaps it were better read thusWhat they swear as lovers, they may be said to feign as poets. Johnson. I would read - It may be said, as lovers they do feign.


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. JAQ. A material fool !!

[Aside. 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.

. I A material fool!) A fool with matter in him; a fool stocked with notions. Johnson. So, in Chapman's version of the 24th Iliad: .

his speech even charm'd his eares,

“ So order'd, so materiall." STEEVENS. C'— I am foul.] By foul is meant coy or frowning.

HANMER. I rather believe foul to be put for the rustick pronunciation of full. Audrey, supposing the Clown to have spoken of her as a foul slut, says, naturally enough, I am not a slut, though, I thank the gods, I am foul, i. e. full. She was more likely to thank the gods for a belly-full, than for her being coy or frowning. TYRWHITT.

In confirmation of Mr: Tyrwhitt's conjecture, it may be observed, that in the song at the end of Love's Labour's Lost, instead of_" and ways be foul,we have in the first quarto, 1598, “ -- and ways be full.In that and other of our author's : plays many words seem to have been spelled by the ear.

MALONE. Audrey says, she is not fair, i, e. handsome, and therefore prays the gods to make her honest. The Clown tells her that to cast honesty away upon a foul slut, (i, e. an ill favoured dirty creature,) is to put meat in an unclean dish. She replies, she

of the who hath war-text, th that end

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. [Aside.
Aud. Well, the gods give us joy!

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.3 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

is no slut, (no dirty drab,) though, in her great simplicity, she thanks the gods for her foulness, (homelyness,) i, e. for being as she is. Well, (adds he,) praised be the gods for thy foul'ness, sluttishness may come hereafter.”. RITSON. : : :

I think that, by foul, Audrey means, not fair, or what we call homely. Audrey is neither coy or ill-humoured; but she thanks God for her homeliness, as it rendered her less exposed to temptation. So, in the next scene but one, Rosalind says to Phebe “ Foul is most foul, being foul, to be a scoffer.”

M. MASON. '- what though?] What then? Johnson. the rascal.] Lean, poor deer, are called rascal deer.


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