Imatges de pÓgina

Duke Sen. What would you have? Your gentleness

shall force, More than your force move us to gentleness.

Orla. I almost die for food, and let me have it. Duke Sen. Sit down and feed, and welcome to our

table. Orla. Speak you fo gently? pardon me, I pray

you; I thought, that all things had been savage here; And therefore


I on the countenance Of stern commandment.

But whate'er you are, • That in this defart inaccessible, < Under the shade of melancholy boughs, os Lose and neglect the creeping hours of time; . If ever you have look'd on better days;

If ever been where bells have knoll'd to church; · If ever fate at any good man's feast; " If ever from your eyelids wip'd a tear, < And know what 'tis to pity, and be pitied;' Let gentleness my strong enforcement be, In the which hope I blush, and hide my sword. Duke Sen. True is it, and that we have seen better

And have with holy bell been knoll'd to church;
And fate at good men's feasts, and wip'd our eyes
Of drops, that facred pity had engender'd :
And therefore fit you down in gentleness,
And take upon command what help we have,
That to your wanting may be ministred.

Orla. Then but forbear your food a little while,
Whiles, like a doe, I go to find my fawn,
And give it food. There is an old poor man,
Who after me hath many a weary step
Limp'd in pure love; 'till he be first fuffic'd,
5 Lose and negleet the creeping hours of time ;]
Secretum iter & fallentis femila vitæ. Hor.


Y 4

Oppress'd with two weak evils, age and hunger,
I will not touch a bit.

Duke Sen. Go find him out,
And we will nothing waste till you return.
Orla. I thank ye; and be bless?d for your good
comfort !

Duke Sen. Thou seest, we are not all alone unhappy;
This wide and universal Theatre
Presents more woful pageants, than the scene
Wherein we play in.

Jaq. All the world's a Stage,
And all the men and women meerly Players ;

They have their Exits and their entrances,
< And one man in his time plays many parts:

His acts being seven ages. At first the infant,

Mewling and puking in the nurse's arms: • And then, the whining school-boy with his fatchel

, And shining morning-face, creeping like fnail Unwillingly to school. And then, the lover;

Sighing like furnace, with a woful ballad • Made to his mistress eye-brow. Then, a soldier;

Full of strange oaths, and bearded like the pard,
Jealous in honour, sudden and quick in quarrel ;
Seeking the bubble reputation

Even in the cannon's mouth. And then, the justice Ć In fair round belly, with good capon lin'd,

With eyes severe, and beard of formal cut, 6 6 Full of wise faws and modern instances, 6 And so he plays his part. 7 The sixth age shifts Into the lean and Nipper'd pantaloon,

c With 6 Full of wise saws and modern instances,] It is remarkable that Shakespear uses modern in the double sense that the Greeks used xadios, both for recens and absurdus,

7-The fixth age fhifts

Into the lean and slipper'd pantaloon,] There is a greater beauty than appears at firit fight in this image. He is here com


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With spectacles on nose, and pouch on side;

His youthful hose well fav’d, a world too wide < For his shrunk shank; and his big manly voice, 6 Turning again toward childish treble, pipes,

And whistles in his sound. Last Scene of all, 5 That ends this strange eventful History, ç Is second childishness, and meer oblivion, Sans teeth, fans eyes, fans tafte, fans every thing, S СЕ


E X.
Enter Orlando, with Adam.
Duke Sen. Welcome: set down your venerable

burden, And let him feed.

Orla. I thank you most for him.

Adam. So had you need,
I scarce can speak to thank you

for myself.
Duke Sen. Welcome, fall to: I will not trouble

As yet to question you about your fortunes.
Give us some musick; and, good cousin, sing.

Blow, blow, thou winter wind,
Thou art not so unkind

As man's ingratitude ;
Thy tooth is not so keen,
8 Because thou art not seen,
Alibo' thy breath be rude.

Heigl paring human life to a flage play, of seven acts, (which was no unusual division before our author's time.) The sixth he calls the lean and slipper'd pantaloon, alluding to that general character in the Italian comedy, called Il Pantalóne ; who is a thin emaciated old man in slippers; and well designed, in that epithet, because Pantalóne is the only character that acts in slippers.

8_Because thou art not seen,] This song is designed to suit the Duke's exiled condition, who had been ruined by ungrateful


Heigh bo! fing, heigh bo! unto the green holly ;
Most friendship is feigning ; most loving meer folly :

Then heigh ho, the holly!
This life is most jolly.

Freeze, freeze, thou bitter sky,
That dost not bite so nigh

As benefits forgot :
Tho' thou the waters warp,
Tby sting is not so Sharp

As friend remembred not,
Heigh bo! fing, &c.

Duke Sen. If that you were the good Sir Rowland's

Son, As you have whisper'd faithfully you were, flatterers. Now the winter wind, the song says, is to be preferr'd to man's ingratitude. But why? Because it is not SEEN. But this was not only an aggravation of the injury, as it was done in secret, not seen, but was the very circumstance that made the keenness of the ingratitude of his faithless courtiers. Without doubt, Shakespear wrote the line thus,

Because thou art not sheen, i. e. fmiling, shining, like an ungrateful court-servant, who flatters while he wounds, which was a very good reason for giving the winter wind the preference. So in the Midsummer's Night's Dream,

Spangled far light sheen, and several other places. Chaucer uses it in this sense,

Your blisful fufter Lucina tbe shene. And Fairfax,

The facred Angel took his Target shene,

And by the Christian Champion food unseen. The Oxford editor, who had this emendation communicated to him, takes occasion from thence to alter the whole line thus,

Thou caufes not that teen. But, in his rage of correction, he forgot to leave the reason, which is now wanting, Why the winter wind was to be preferred to man's ingratitude.


And as mine eye doth his effigies witness,
Most truly limn'd, and living in your face, ,
Be truly welcome hither. _I'm the Duke,
That lov'd your Father. The residue of your fortune
Go to my cave and tell me. Good old Man,
Thou art right welcome, as thy master is;
Support him by the arm; give me your hand,
And let me all your fortunes understand. [Exeunt,


The P A L A CE.

Enter Duke, Lords, and Oliver.


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OT see him since? Sir, Sir, that cannot be;
But were I not the better part made

I should not seek an absent argument
Of my revenge, thou present: but look to it;
Find out thy brother, wherefoe'er he is ;
Seek him with candle: bring him dead or living,
Within this twelvemonth; or turn thou no more
To seek a living in our territory.
Thy lands and all things that thou doft call thine,
Worth seizure, do we seize into our hands;
'Till thou can'st quit thee by thy brother's mouth,
Of what we think against thee.

Oli. Oh, that your Highness knew my heart in this:
I never lov'd my brother in my life.
Duke. More villain thou. Well, push him out

of doors;
And let my officers of such a nature
Make an Extent upon his house and lands:
Do this expediently, and turn him going. (Exeunt.


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