Thus Rosalind of many parts

By heavenly synod was devis'd;

chastity, with which nature had graced Rosalind, together with Helen's beauty without her heart or lewdness, with Cleopatra's dignity of behaviour, and with Lucretia's modesty, that scorned to survive the loss of honour? Pliny's Natural History, b. xXXV. c. iii. mentions the portraits of Atalanta and Helen, utraque excellentissima forma, sed altera ut virgo; that is, "both of them for beauty, incomparable, and yet a man may discerne the one [Atalanta] of them to be a maiden, for her modest and chaste countenance," as Dr. P. Holland translated the passage; of which probably our poet had taken notice, for surely he had judgment in painting. TOLLET.

I suppose Atalanta's better part is her wit, i. e. the swiftness of her mind. FARMER.

Dr. Farmer's explanation may derive some support from a subsequent passage: as swift a wit as Atalanta's heels."

It is observable that the story of Atalanta in the tenth book of Ovid's Metamorphosis is interwoven with that of Venus and Adonis, which our author had undoubtedly read. The lines most material to the present point run thus in Golding's translation, 1567:

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"She overcame them out of doubt; and hard it is to tell Thee, whether she did in footemanshippe or beautie more excell."

he did condemne the young men's love. But when "He saw her face and body bare, (for why, the lady then "Did strip her to her naked skin,) the which was like to mine, "Or rather, if that thou wast made a woman, like to thine, "He was amaz'd."

"Did flie as swift as arrow from a Turkie bow, yet hee "More wondered at her beautie, then at swiftnesse of her pace; "Her running greatly did augment her beautie and her grace." MALONE. Shakspeare might have taken part of this enumeration of distinguished females from John Grange's Golden Aphroditis, 1577: who seemest in my sight faire Helen of Troy, Polixene, Calliope, yea Atalanta hir selfe in beauty to surpasse, Pandora in qualities, Penelope and Lucretia in chastenesse to deface." Again, ibid. :

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"Polixene fayre, Caliop, and

"Penelop may give place;

"Atalanta and dame Lucres fayre

Of many faces, eyes, and hearts,

To have the touches' dearest priz'd.

Heaven would that she these gifts should have,
And I to live and die her slave.

Ros. O most gentle Jupiter!-what tedious homily of love have you wearied your parishioners withal, and never cry'd, Have patience, good people! CEL. How now! back friends ;-Shepherd, go off a little :-Go with him, sirrah.

TOUCH. Come, shepherd, let us make an honourable retreat; though not with bag and baggage, yet with scrip and scrippage.

[Exeunt CORIN and TOUCHSTOne. CEL. Didst thou hear these verses?

Ros. O, yes, I heard them all, and more too;

Again, ibid. : "Atalanta who sometyme bore the bell of beauties price in that hyr native soyle."

It may be obseryed, that Statius also, in his sixth Thebaid, has confounded Atalanta the wife of Hippomenes, and daughter of Siconeus, with Atalanta the daughter of Enomaus, and wife of Pelops. See v. 564.

After all, I believe, that "Atalanta's better part" means onlythe best part about her, such as was most commended.

STEEVENS. See a very ingenious disquisition on this passage by Mr. Whiter, in his Specimen of a Commentary on Shakspeare. BOSWELL.

I think this stanza was formed on an old tetrastick epitaph, which, as I have done, Mr. Steevens may possibly have read in a country church-yard:

"She who is dead and sleepeth in this tomb,

"Had Rachel's comely face, and Leah's fruitful womb : "Sarah's obedience, Lydia's open heart,

"And Martha's care, and Mary's better part." WHALLEY.

9 Sad-] Is grave, sober, not light. JOHNSON.

So, in Much Ado About Nothing: "She is never sad but when she sleeps." STEEVENS.

-the touches-] The features; les traits. JOHNSON. So, in King Richard III. :

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Madam, I have a touch of your condition." STEEVENS.

for some of them had in them more feet than the verses would bear.

CEL. That's no matter; the feet might bear the

verses.

Ros. Ay, but the feet were lame, and could not bear themselves without the verse, and therefore stood lamely in the verse.

CEL. But didst thou hear, without wondering how thy name should be hang'd and carved upon these trees?

Ros. I was seven of the nine days out of the wonder, before you came; for look here what I found on a palm-tree2; I was never so be-rhymed since Pythagoras' time, that I was an Irish rat3, which I can hardly remember.

2

CEL. Trow you, who hath done this?
Ros. Is it a man?

-a PALM-TREE ;] A palm-tree, in the forest of Arden, is as much out of its place, as the lioness in a subsequent scene. STEEVENS.

3 I was never so be-rhymed since Pythagoras' time, that I was an IRISH RAT,] Rosalind is a very learned lady. She alludes to the Pythagorean doctrine, which teaches that souls transmigrate from one animal to another, and relates that in his time she was an Irish rat, and by some metrical charm was rhymed to death. The power of killing rats with rhymes Donne mentions in his Satires, and Temple in his Treatises. Dr. Grey has produced a similar passage from Randolph :

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My poets

"Shall with a satire, steep'd in gall and vinegar, Rhyme them to death as they do rats in Ireland." JOHNSON.

So, in an address to the reader at the conclusion of Ben Jonson's Poetaster:

Rhime them to death, as they do Irish rats "In drumming tunes." STEEVENS.

So, in The Defence of Poesie, by our author's contemporary, Sir Philip Sidney: "Though I will not wish unto you to be driven by a poet's verses, as Rubonax was, to hang yourself, nor to be rimed to death, as is said to be done in Ireland" MALONE.

CEL. And a chain, that you once wore, about his neck: Change you colour?

Ros. I pr'ythee, who?

CEL. O lord, lord! it is a hard matter for friends to meet*: but mountains may be removed with earthquakes, and so encounter 3.

Ros. Nay, but who is it?

CEL. Is it possible?

Ros. Nay, I pray thee now, with most petitionary vehemence, tell me who it is.

CEL. O wonderful, wonderful, and most wonderful wonderful, and yet again wonderful, and after that out of all whooping"!

Ros. Good my complexion"! dost thou think,

4-friends to meet :] Alluding ironically to the proverb: "Friends may meet, but mountains never greet."

See Ray's Collection.

STEEVENS.

So, in Mother Bombie, by Lily, 1594: "Then we two met, which argued that we were no mountains."

MALONE.

5 but MOUNTAINS may be removed with earthquakes, and SO ENCOUNTER.] "Montes duo inter se concurrerunt," &c. says Pliny, Hist. Nat. lib. ii. c. lxxxiii. or in Holland's translation: "Two hills (removed by an earthquake) encountered together, charging as it were, and with violence assaulting one another, and retyring again with a most mighty noise."

TOLLET.

6 out of all WHOOPING!] i. e. out of all measure, or reckoning. So, in the old ballad of Yorke, Yorke for my Money, &c. 1584:

"And then was shooting, out of cry,

"The skantling at a handful nie."

Again, in the old bl. 1. comedy called Common Conditions: "I have beraed myself out of cry." STEEVENS.

This appears to have been a phrase of the same import as another formerly in use, "out of all cry." The latter seems to allude to the custom of giving notice by a crier of things to be sold. So, in A Chaste Maide of Cheapside, a comedy by T. Middleton, 1630: “I'll sell all at an outcry." MALONE.

An outcry is still a provincial term for an auction. STEEVENS. 7 Good my complexion!] This is a mode of expression, Mr. Theobald says, which he cannot reconcile to common sense. Like enough and so too the Oxford editor. But the meaning isHold good my complexion, i. e. let me not blush. WARBURTON.

:

though I am caparison'd like a man, I have a dou blet and hose in my disposition? One inch of delay more is a South-sea of discovery; I pr'ythee, tell me, who is it? quickly, and speak apace: I would

"Good my complexion!" My native character, my female inquisitive disposition, canst thou endure this! For thus characterizing the most beautiful part of the creation, let our author answer. MALONE.

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Good my complexion!" is a little unmeaning exclamatory address to her beauty; in the nature of a small oath. RITSON. 8 One inch of delay more is a South-sea-of discovery.] This is stark nonsense; we must read-off discovery, i. e. from discovery. If you delay me one inch of time longer, I shall think this secret as far from discovery as the South-sea is."

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WARBURTON.

This sentence is rightly noted by the commentator as nonsense, but not so happily restored to sense. I read thus:-One inch of delay more is a South-sea. Discover, I pr'ythee; tell me who is it quickly!-When the transcriber had once made discovery from discover I, he easily put an article after South-sea. But it may be read with still less change, and with equal probability-Every inch of delay more is a South-sea discovery:Every delay, however short, is to me tedious and irksome as the longest voyage, as a voyage of discovery on the South-sea. How much voyages to the South-sea, on which the English had then first ventured, engaged the conversation of that time, may be easily imagined. JOHNSON.

Of for off, is frequent in the elder writers. A South-sea of discovery is a discovery a South-sea off-as far as the South-sea. FARMER.

Warburton's sophistication ought to have been reprobated, and the old, which is the only reading that can preserve the sense of Rosalind, restored. A "South-sea of discovery," is not a discovery, as far off, but as comprehensive as the South-sea; which, being the largest in the world, affords the widest scope for exercising curiosity. HENLEY.

The old copy has-of discovery; and of, as Dr. Farmer has observed, was frequently used instead of off in Shakspeare's time: yet the construction of "South-sea off discovery" is so harsh, that I am strongly inclined to think, with Dr. Johnson, that we should read-a South-sea discovery. "Delay, however short, is to me tedious and irksome as the longest voyage, as a voyage of discovery on the South-Sea." The word of, which had occurred just before, might have been inadvertently repeated by the compositor. MALONE.