Why then, my taxing like a wild goose flies, Enter ORLANDO, with his Sword drawn. Jaq. Why, I have eat none yet. Orl. Nor shalt not, till necessity be serv'd. Jaq. Of what kind should this cock come of? Duke S. Art thou thus bolden'd, man, by thy distress; Or else a rude despiser of good manners, That in civility thou seem'st so empty? Orl. You touch'd my vein at first; the thorny point Of bare distress hath ta'en 14 from me the show Till I and my affairs are answered. I must die. you will not be answered with reason, Duke S. What would you have? Your gentleness shall force, More than your force move us to gentleness. Orl. I almost die for food, and let me have it. Duke S. Sit down and feed, and welcome to our table. Orl. Speak you so gently? Pardon me, I pray you: 14 We might read torn with more elegance,' says Johnson, 'but elegance alone will not justify alteration.' 15 Inland here, and elsewhere in this play, is the opposite to outland, or upland. Orlando means to say that he had not been bred among clowns. 16 Nurture is education, breeding, manners. It is a point of nourtour or good manners to salute them that you meete.' Urbanitas est salutare obvios.' Baret's Alvearie, 1573. And again: 'She is a manerly maide and well nourtured. Ibid. in voce maner. I thought, that all things had been savage here; Of stern commandment: But whate'er you are, Under the shade of melancholy boughs, If ever been where bells have knoll'd to church; Orl. Then, but forbear your food a little while, Duke S. Go find him out, And we will nothing waste till you return. 17 This desert inaccessible.' So in The Adventures of Si 'Like a milch doe, whose swelling dugs do ake, Orl. I thank ye; and be bless'd for your good comfort! [Exit. Duke S. Thou seest, we are not all alone un happy: This wide and universal theatre Presents more woful pageants than the scene Jaq. 20 Pleonasms of this kind were by no means uncommon in the writers of Shakspeare's age: 'I was afearde to what end his talke would come to.' Baret. In Coriolanus, Act ii. Sc. 1: 'In what enormity is Marcius poor in. And in Romeo and Juliet, Act i. Chorus: 'That fair for which love groan'd for.' 21 In the old play of Damon and Pythias, we have—' Pythagoras said, that this world was like a stage whereon many play their parts.' And in The Legend of Orpheus and Euridice, 1597: 'Unhappy man Whose life a sad continuall tragedie, Himself the actor, in the world, the stage, While as the acts are measured by his age.' In The Treasury of Ancient and Modern Times, 1613, is a division of the life of man into seven ages, said to be taken from Proclus: and it appears from Brown's Vulgar Errors, that Hippocrates also divided man's life into seven degrees or stages, though he differs from Proclus in the number of years allotted to each stage. Dr. Henley mentions an old emblematical print, entitled, The Stage of Man's Life divided into Seven Ages, from which he thinks Shakspeare more likely to have taken his hint than from Hippocrates, or Proclus; but he does not tell us that this print was of Shakspeare's age. Steevens refers to the Totus mundus exerceat histrioniam of Petronius, with whom probably the sentiment originated. Shakspeare has again referred to it in The Merchant of Venice: 'I hold the world but as the world, Gratiano, A stage where every man must play his part.' Mewling and puking in the nurse's arms; Even in the cannon's mouth: And then, the justice; Is second childishness, and mere oblivion; Re-enter ORLANDO, with ADAM. Duke S. Welcome: Set down your venerable burden, And let him feed. 22 So in Cymbeline: 'He furnaceth the thick sighs from him.' 23 One of the ancient senses of sudden is violent. 24 Trite, common, trivial. 25 The pantaloon was a character in the old Italian farces; it represented, as Warburton observes, a thin emaciated old man in slippers. Nashe mentions the character in his Pierce Pennilesse. And in The Plotte of the Deade Man's Fortune, printed by Malone: Enter the panteloun and pescode with spectacles.' Orl. I thank Adam. So had you need; you most for him. I scarce can speak to thank you for myself. Duke S. Welcome, fall to: I will not trouble As yet, to question you about your fortunes :Give us some musick; and, good cousin, sing. AMIENS sings. SONG. you I. Blow, blow, thou winter wind, 726 Thou art not so unkind2 As man's ingratitude; Thy tooth is not so keen, Although thy breath be rude. Heigh, ho! sing, heigh, ho! unto the green holly: 26 That is, thy action is not so contrary to thy kind, so unnatural, as the ingratitude of man. Thus in Venus and Adonis: 'O had thy mother borne so bad a mind, She had not brought forth thee, but dy'd unkind.' 27 Johnson thus explains this line, which some of the editors have thought corrupt or misprinted: 'Thou winter wind, says Amiens, thy rudeness gives the less pain, as thou art not seen, as thou art an enemy that dost not brave us with thy presence, and whose unkindness is therefore not aggravated by insult.' So in the Sonnet introduced into Love's Labour's Lost: 'Through the velvet leaves the wind Again in Measure for Measure: |