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Ros. To you I give myself, for I am yours.
[To Duke S. To you I give myself, for I am yours.
[To ORLANDO. Duke S. If there be truth in sight, you are my
daughter. Orl. If there be truth in sight, you are my Ro
cruth in sight.
Phe. If sight and shape be true,
[To Duke S. I'll have no husband, if you be not he:
[TO ORLANDO. Nor ne’er wed woman, if you be not she.
[Το PHEBE Hym. Peace, ho! I bar confusion:
'Tis I must make conclusion
Of these most strange events :
If truth holds true contents.
[To ORLANDO and ROSALIND. You and you are heart in heart:
[To OLIVER and CELIA,
[To TouchSTONE and AUDREY.
pany to be brought by enchantment, and is therefore introduced by a supposed aerial being in the character of Hymen.
8 If truth holds true contents.] That is, if there be truth in truth, unless truth fails of veracity.
That reason wonder may diminish,
O blessed bond of board and bed!
High wedlock then be honoured:
To Hymen, god of every town!
Phe. I will not eat my word, now thou art mine; Thy faith my fancy to thee doth combine.'
[To Silvius. Enter Jaques de Bois. Jag. de B. Let me have audience for a word, or
9- combine.] Shakspeare is licentious in his use of this verb, which here only signifies to bind.
That were with him exírd : This to be true,
Welcome, young man;
Jaq. Sir, by your patience; If I heard y
Jaq. de B. He hath.
Jag. To him will I: out of these convertites There is much matter to be heard and learn'd. You to your former honour I bequeath;
[To Duke S. Your patience, and your virtue, well deserves it: You To ORLANDO) to a love, that your true faith
doth merit :You [T. OLIVER] to your land, and love, and great
allies : You [To Silvius] to a long and well deserved
bed ; And you [TO TOUCHSTONE] to wrangling; for thy
loving voyage Is but for two months victuald :-So to your plea
sures; I am for other than for dancing measures.
Duke S. Stay, Jaques, stay.
Jaq. To see no pastime, I :'-—what you would
have I'll stay to know at your abandon'd cave. [E.rit. Duke S. Proceed, proceed: we will begin these
rites, And we do trust they'll end, in true delights.
Ros. It is not the fashion to see the lady the epilogue: but it is no more unhandsome, than to see the lord the prologue. If it be true, that good wine needs no bush, 'tis true, that a good play needs no epilogue: Yet to good wine they do use good bushes; and good plays prove the better by the help of good epilogues. What a case am I in then, that am neither a good epilogue, nor cannot insinuate with you in the behalf of a good play? I am not furnished like a beggar, therefore to beg will
* To see no pastime, I : &c.] Amidst this general festivity, the reader may be sorry to take his leave of Jaques, who appears to have no share in it, and remains behind unreconciled to society. He has, however, filled with a gloomy sensibility the space al. lotted to him in the play, and to the last preserves that respect which is due to him as a consistent character, and an amiable, though solitary moralist.
It may be observed, with scarce less concern, that Shakspeare has, on this occasion, forgot old Adam, the servant of Orlando, whose fidelity should have entitled him to notice at the end of the piece, as well as to that happiness which he would naturally have found, in the return of fortune to his master.
— no bush,] It appears formerly to have been the custom to hang a tuft of ivy at the door of a vintner. The practice is still observed in Warwickshire and the adjoining counties, at statutehirings, wakes, &c. by people who sell ale at no other time.
3 = furnished like a beggar,] That is, dressed : so before, he was furnished like a huntsman.
not become me: my way is, to conjure you; and I'll begin with the women. I charge you, O women, for the love you bear to men, to like as much of this play as please them: and so I charge you, O men, for the love you bear to women, (as I perceive by your simpering, none of you hate them,) that between you and the women, the play may please. If I were a woman,' I would kiss as many of you as had beards that pleased me, complexions that liked me, and breaths that I defied not; and, I am sure, as many as have good beards, or good faces, or sweet breaths, will, for my kind offer, when I make curt'sy, bid me farewell. [Ereunt.
* If I were a woman,] In this author's time, the parts of women were always performed by men or boys. s c omplexions that liked me,] i. e. that I liked.
6 Of this play the fable is wild and pleasing. I know not how the ladies will approve the facility with which both Rosalind and Celia give away their hearts. To Celia much may be forgiven for the heroism of her friendship. The character of Jaques is natural and well preserved. The comick dialogue is very sprightly, with less mixture of low buffoonery than in some other plays; and the graver part is elegant and harmonious. By hastening to the end of this work, Shakspeare suppressed the dialogue between the usurper and the hermit, and lost an opportunity of exhibiting a moral lesson in which he might have found matter worthy of his highest powers. Johnson.