The Oxford Shakespeare: The Complete Works

by William Shakespeare

  Of many faces, eyes, and hearts

  To have the touches dearest prized.

  Heaven would that she these gifts should have

  And I to live and die her slave.’

  ROSALIND O most gentle Jupiter! What tedious homily of love have you wearied your parishioners withal, and never cried ‘Have patience, good people.’

  CELIA How now, back, friends. Shepherd, go off a little. Go with him, sirrah.

  TOUCHSTONE Come, shepherd, let us make an honourable retreat, though not with bag and baggage, yet with scrip and scrippage. Exit with Corin

  CELIA Didst thou hear these verses?

  ROSALIND O yes, I heard them all, and more, too, for some of them had in them more feet than the verses would bear.

  CELIA That’s no matter; the feet might bear the verses.

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

  CELIA But didst thou hear without wondering how thy name should be hanged and carved upon these trees?

  ROSALIND I was seven of the nine days out of the wonder before you came; for look here what I found on a palm-tree; (showing Celia the verses) I was never so berhymed since Pythagoras’ time that I was an Irish rat, which I can hardly remember.

  CELIA Trow you who hath done this?

  ROSALIND Is it a man?

  CELIA And a chain that you once wore about his neck. Change you colour?

  ROSALIND I prithee, who?

  CELIA O Lord, Lord, it is a hard matter for friends to meet. But mountains may be removed with earthquakes, and so encounter.

  ROSALIND Nay, but who is it?

  CELIA Is it possible?

  ROSALIND Nay, I prithee now with most petitionary vehemence, tell me who it is.

  CELIA O wonderful, wonderful, and most wonderful-wonderful, and yet again wonderful, and after that out of all whooping!

  ROSALIND Good my complexion! Dost thou think, though I am caparisoned like a man, I have a doublet and hose in my disposition? One inch of delay more is a South Sea of discovery. I prithee tell me who is it quickly, and speak apace. I would thou couldst stammer, that thou mightst pour this concealed man out of thy mouth as wine comes out of a narrow-mouthed bottle—either too much at once, or none at all. I prithee, take the cork out of thy mouth, that I may drink thy tidings.

  CELIA So you may put a man in your belly.

  ROSALIND Is he of God’s making? What manner of man? Is his head worth a hat? Or his chin worth a beard?

  CELIA Nay, he hath but a little beard.

  ROSALIND Why, God will send more, if the man will be thankful. Let me stay the growth of his beard, if thou delay me not the knowledge of his chin.

  CELIA It is young Orlando, that tripped up the wrestler’s heels and your heart both in an instant.

  ROSALIND Nay, but the devil take mocking. Speak sad brow and true maid.

  CELIA I‘faith, coz, ’tis he.

  ROSALIND Orlando?

  CELIA Orlando.

  ROSALIND Alas the day, what shall I do with my doublet and hose! What did he when thou sawest him? What said he? How looked he? Wherein went he? What makes he here? Did he ask for me? Where remains he? How parted he with thee? And when shalt thou see him again? Answer me in one word.

  CELIA You must borrow me Gargantua’s mouth first, ’tis a word too great for any mouth of this age’s size. To say ay and no to these particulars is more than to answer in a catechism.

  ROSALIND But doth he know that I am in this forest, and in man’s apparel? Looks he as freshly as he did the day he wrestled?

  CELIA It is as easy to count atomies as to resolve the propositions of a lover; but take a taste of my finding him, and relish it with good observance. I found him under a tree, like a dropped acorn—

  ROSALIND It may well be called Jove’s tree when it drops forth such fruit.

  CELIA Give me audience, good madam. ROSALIND Proceed.

  CELIA There lay he, stretched along like a wounded knight—

  ROSALIND Though it be pity to see such a sight, it well becomes the ground.

  CELIA Cry ‘holla’ to thy tongue, I prithee: it curvets unseasonably.—He was furnished like a hunter—

  ROSALIND O ominous—he comes to kill my heart.

  CELIA I would sing my song without a burden; thou bringest me out of tune.

  ROSALIND Do you not know I am a woman? When I think, I must speak.—Sweet, say on.

  Enter Orlando and Jaques

  CELIA You bring me out. Soft, comes he not here?

  ROSALIND ’Tis he. Slink by, and note him. Rosalind and Celia stand aside

  JAQUES (to Orlando) I thank you for your company, but, good faith, I had as lief have been myself alone.

  ORLANDO And so had I. But yet for fashion’ sake, I thank you too for your society.

  JAQUES God b’wi’you; let’s meet as little as we can.

  ORLANDO I do desire we may be better strangers.

  JAQUES I pray you mar no more trees with writing love-songs in their barks.

  ORLANDO I pray you mar no more of my verses with reading them ill-favouredly.

  JAQUES Rosalind is your love’s name?

  ORLANDO Yes, just.

  JAQUES I do not like her name.

  ORLANDO There was no thought of pleasing you when she was christened.

  JAQUES What stature is she of?

  ORLANDO Just as high as my heart.

  JAQUES You are full of pretty answers. Have you not been acquainted with goldsmiths’ wives, and conned them out of rings?

  ORLANDO Not so; but I answer you right painted cloth, from whence you have studied your questions.

  JAQUES You have a nimble wit; I think ’twas made of Atalanta’s heels. Will you sit down with me, and we two will rail against our mistress the world, and all our misery?

  ORLANDO I will chide no breather in the world but myself, against whom I know most faults.

  JAQUES The worst fault you have is to be in love.

  ORLANDO ’Tis a fault I will not change for your best virtue. I am weary of you.

  JAQUES By my troth, I was seeking for a fool when I found you.

  ORLANDO He is drowned in the brook. Look but in, and you shall see him.

  JAQUES There I shall see mine own figure. ORLANDO Which I take to be either a fool or a cipher.

  JAQUES I’ll tarry no longer with you. Farewell, good Signor Love.

  ORLANDO I am glad of your departure. Adieu, good Monsieur Melancholy. Exit Jaques

  ROSALIND (to Celia) I will speak to him like a saucy lackey, and under that habit play the knave with him. (To Orlando) Do you hear, forester?

  ORLANDO Very well. What would you?

  ROSALIND I pray you, what is’t o’clock?

  ORLANDO You should ask me what time o’ day. There’s no clock in the forest.

  ROSALIND Then there is no true lover in the forest, else sighing every minute and groaning every hour would detect the lazy foot of time as well as a clock.

  ORLANDO And why not the swift foot of time? Had not that been as proper?

  ROSALIND By no means, sir. Time travels in divers paces with divers persons. I’ll tell you who time ambles withal, who time trots withal, who time gallops withal, and who he stands still withal.

  ORLANDO I prithee, who doth he trot withal?

  ROSALIND Marry, he trots hard with a young maid between the contract of her marriage and the day it is solemnized. If the interim be but a se’nnight, time’s pace is so hard that it seems the length of seven year.

  ORLANDO Who ambles time withal?

  ROSALIND With a priest that lacks Latin, and a rich man that hath not the gout; for the one sleeps easily because he cannot study, and the other lives merrily because he feels no pain, the one lacking the burden of lean and wasteful learning, the other knowing no burden of heavy tedious penury. These time ambles withal.

  ORLANDO Who doth he gallop withal? 317

  ROSALIND With a thief to the g
allows; for though he go as softly as foot can fall, he thinks himself too soon there.

  ORLANDO Who stays it still withal?

  ROSALIND With lawyers in the vacation; for they sleep between term and term, and then they perceive not how time moves.

  ORLANDO Where dwell you, pretty youth?

  ROSALIND With this shepherdess, my sister, here in the skirts of the forest, like fringe upon a petticoat.

  ORLANDO Are you native of this place?

  ROSALIND As the coney that you see dwell where she is kindled.

  ORLANDO Your accent is something finer than you could purchase in so removed a dwelling.

  ROSALIND I have been told so of many; but indeed an old religious uncle of mine taught me to speak, who was in his youth an inland man; one that knew courtship too well, for there he fell in love. I have heard him read many lectures against it, and I thank God I am not a woman, to be touched with so many giddy offences as he hath generally taxed their whole sex withal.

  ORLANDO Can you remember any of the principal evils that he laid to the charge of women?

  ROSALIND There were none principal; they were all like one another as halfpence are, every one fault seeming monstrous till his fellow-fault came to match it.

  ORLANDO I prithee, recount some of them.

  ROSALIND No. I will not cast away my physic but on those that are sick. There is a man haunts the forest that abuses our young plants with carving Rosalind on their barks; hangs odes upon hawthorns and elegies on brambles; all, forsooth, deifying the name of Rosalind. If I could meet that fancy-monger, I would give him some good counsel, for he seems to have the quotidian of love upon him.

  ORLANDO I am he that is so love-shaked. I pray you, tell me your remedy.

  ROSALIND 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.

  ORLANDO What were his marks?

  ROSALIND A lean cheek, which you have not; a blue eye and sunken, which you have not; an unquestionable spirit, which you have not; a beard neglected, which you have not—but I pardon you for that, for simply your having in beard is a younger brother’s revenue. Then your hose should be ungartered, your bonnet unbanded, your sleeve unbuttoned, your shoe untied, and everything 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.

  ORLANDO Fair youth, I would I could make thee believe I love.

  ROSALIND 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?

  ORLANDO I swear to thee, youth, by the white hand of Rosalind, I am that he, that unfortunate he.

  ROSALIND But are you so much in love as your rhymes speak?

  ORLANDO Neither rhyme nor reason can express how much.

  ROSALIND 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.

  ORLANDO Did you ever cure any so?

  ROSALIND Yes, one; and in this manner. He was to 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 anything, as boys and women are for the most part cattle of this colour—would now like him, now loathe 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 monastic. And thus I cured him, and this way will I take 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.

  ORLANDO I would not be cured, youth.

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

  ORLANDO Now by the faith of my love, I will. Tell me where it is.

  ROSALIND 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?

  ORLANDO With all my heart, good youth.

  ROSALIND Nay, you must call me Rosalind.—Come, sister. Will you go?

  Exeunt

  3.3 Enter Touchstone the clown and Audrey, followed by Jaques

  TOUCHSTONE 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?

  AUDREY Your features, Lord warrant us—what features?

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

  JAQUES (aside) O knowledge ill-inhabited; worse than Jove in a thatched house.

  TOUCHSTONE 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.

  AUDREY I do not know what ‘poetical’ is. Is it honest in deed and word? Is it a true thing?

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

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

  TOUCHTONE I do, truly; for thou swearest to me thou art honest. Now if thou wert a poet, I might have some hope thou didst feign.

  AUDREY Would you not have me honest?

  TOUCHSTONE No, truly, unless thou wert hard-favoured; for honesty coupled to beauty is to have honey a sauce to sugar.

  JAQUES (aside) A material fool.

  AUDREY Well, I am not fair, and therefore I pray the gods make me honest.

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

  AUDREY I am not a slut, though I thank the gods I am foul.

  TOUCHSTONE 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 Martext, the vicar of the next village, who hath promised to meet me in this place of the forest, and to couple us.

  JAQUES (aside) I would fain see this meeting.

  AUDREY Well, the gods give us joy.

  TOUCHSTONE 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. Is the single man therefore blessed? No. As a walled 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.

  Enter Sir Oliver Martext

  Here comes Sir Oliver.—Sir Oliver Martext, you are

  well met. Will you dispatch us here under this tree, or

  shall we go with you to your chapel?

  SIR OLIVER MARTEXT Is there none here to give the woman?

  TOUCHSTONE I will not take her on gift of any man.

  SIR OLIVER MARTEXT Truly she must be given, or the marriage is not lawful.

  JAQUES (coming forward) Proceed, proceed. I’ll give her.

  TOUCHSTONE Good even, good Monsieur What-ye-call’t. How do you, sir? You are v
ery well met. God’ield you for your last company. I am very glad to see you. Even a toy in hand here, sir.

  Jaques removes his hat

  Nay, pray be covered.

  JAQUES Will you be married, motley?

  TOUCHSTONE As the ox hath his bow, sir, the horse his curb, and the falcon her bells, so man hath his desires; and as pigeons bill, so wedlock would be nibbling.

  JAQUES And will you, being a man of your breeding, be married under a bush, like a beggar? Get you to church, and have a good priest that can tell you what marriage is. This fellow will but join you together as they join wainscot; then one of you will prove a shrunk panel and, like green timber, warp, warp.

  TOUCHSTONE I am not in the mind but I were better to be married of him than of another, for he is not like to marry me well, and not being well married, it will be a good excuse for me hereafter to leave my wife.

  JAQUES Go thou with me, and let me counsel thee.

  TOUCHSTONE

  Come, sweet Audrey.

  We must be married, or we must live in bawdry.

  Farewell, good Master Oliver. Not O, sweet Oliver,

  O, brave Oliver,

  Leave me not behind thee

  butWind away,

  Begone, I say,

  I will not to wedding with thee.

  SIR OLIVER MARTEXT (aside) ‘Tis no matter. Ne’er a fantastical knave of them all shall flout me out of my calling. Exeunt

  3.4 Enter Rosalind as Ganymede and Celia as Aliena

  ROSALIND Never talk to me. I will weep.

  CELIA Do, I prithee, but yet have the grace to consider that tears do not become a man.

  ROSALIND But have I not cause to weep?

  CELIA As good cause as one would desire; therefore weep.

  ROSALIND His very hair is of the dissembling colour.

  CELIA Something browner than Judas’s. Marry, his kisses are Judas’s own children.

  ROSALIND I’faith, his hair is of a good colour.

  CELIA An excellent colour. Your chestnut was ever the only colour.

  ROSALIND And his kissing is as full of sanctity as the touch of holy bread.