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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
Orla. Then but forbear your food a little while,
Oppress'd with two weak evils, age and hunger,
Duke Sen. Go find him out,
Jaq. All the world's a Stage,
They have their Exits and their entrances,
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,
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
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
burden, And let him feed.
Orla. I thank you most for him.
Adam. So had you need,
As man's ingratitude ;
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 ;
Then heigh ho, the holly!
Freeze, freeze, thou bitter sky,
As benefits forgot :
As friend remembred not,
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,
A CT III. SCENE I.
The P A L A CE.
Enter Duke, Lords, and Oliver.
OT see him since? Sir, Sir, that cannot be;
Oli. Oh, that your Highness knew my heart in this: