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Hel. That it will please you
presence. Gent. The king's not here. Hel.
Not here, sir? Gent.
Not, indeed: He hence remov'd last night, and with more haste. Than is his use. Wid.
Lord, how we lose our pains !
Gent. Marry, as I take it, to Rousillon;
I do beseech you, sir,
This I'll do for you. Hel. And you shall find yourself to be well thank’d, Whate'er falls more.-We must to horse again;Go, go, provide.
your pains for it:
SCENE II. Rousillon.
The inner Court of the Countess's Palace.
Enter Clown and PAROLLES. Par. Good Monsieur Lavatch", give my Lord Lafeu this letter: I have ere now, sir, been better
? i.e. “they will follow with such speed as the means which they have will give them ability to exert.'
Perhaps a corruption of La Vache.
known to you, when I have held familiarity with fresher clothes; but I am now, sir, muddied in fortune's mood”, and smell somewhat strong of her strong displeasure.
Clo. Truly, fortune's displeasure is but sluttish, if it smell so strong as thou speakest of: I will henceforth eat no fish of fortune's buttering. Pr’ythee, allow the wind 3.
Par. Nay, you need not stop your nose, sir; I spake but by a metaphor.
Clo. Indeed, sir, if your metaphor stinko, I will stop my nose; or against any man's metaphor. Pr’ythee, get thee further.
Par. Pray you, sir, deliver me this paper.
Clo. Foh, pr’ythee, stand away; A paper from fortune's close-stool to give to a nobleman! Look, here he comes himself.
Enter LAFEU. Here is a pur of fortune's, sir, or of fortune's cat, (but not a musk-cat), that has fallen into the unclean fishpond of her displeasure, and, as he says,
2 Warburton changed mood, the reading of the old copy, to moat, and was followed and defended by Steevens; but though the emendation was ingenious and well supported, it appears unnecessary.
Fortune's mood is several times used by Shakspeare for the whimsical caprice of fortune.
3 i. e. stand to the leeward of me.
4 Warburton observes, “that Shakspeare throughout his writings, if we except a passage in Hamlet, has scarce a metaphor that can offend the most squeamish reader. To this Steevens, in one of those splenetic fits, to which in the decline of life he was subject, replies that 'the poet's offensive metaphors and allusions are more frequent than those of all his dramatic predecessors or contemporaries.' Those best acquainted with his dramatic contemporaries and predecessors will acknowledge the falsehood of this unjust accusation. But the notes of Mr. Steevens and the Pseudo-Collins would sufficiently disprove it. The dramas of Beaumont and Fletcher, and some parts of Ben Jonson, will serve to show its falsehood.
is muddied withal: Pray you, sir, use the carp as you may; for he looks like a poor, decayed, ingenious, foolish, rascally knave. I do pity his distress in my smiles 5 of comfort, and leave him to your lordship
[Exit Clown. Par. My lord, I am a man whom fortune hath cruelly scratched.
Laf. And what would you have me to do? ’tis too late to pare her nails now. Wherein have
you played the knave with fortune, that she should scratch you, who of herself is a good lady, and would not have knaves thrive long under her? There's a quart decu for you: Let the justices make
and fortune friends; I am for other business.
Par. I beseech your honour, to hear me one single word.
Laf. You beg a single penny more: come, you shall ha't: save your word.
Par. My name, my good lord, is Parolles.
Laf. You beg more than one word then 6.—Cox® my passion! give me your hand :—How does your drum ?
Par. O my good lord, you were the first that
Laf. Was I, in sooth? and I was the first that lost thee.
Par. It lies in you, my lord, to bring me in some grace, for
you did bring me out. Laf. Out upon thee, knave! dost thou put upon me at once both the office of God and the devil ? one brings thee in grace, and the other brings thee out. [Trumpets sound.] The king's coming, I know
5 Warburton says we should read, similes of comfort,' such as calling him fortune's cat, carp, &c.
6 A quibble is intended on the word Parolles, which in French signifies words.
by his trumpets.—Sirrah, inquire further after me; I had talk of you last night: though you are a fool and a knave, you shall eat; go to, follow 7. Par. I praise God for you.
SCENE III. The same.
A Room in the Countess's Palace. Flourish. Enter King, Countess, LAFEU, Lords, Gentlemen,
'Tis past, my liege:
My honour'd lady,
This I must say, But first I beg my pardon,— The young lord Did to his majesty, his mother, and his lady,
? Johnson justly observes that 'Parolles has many of the lineaments of Falstaff, and seems to be a character that Shakspeare delighted to draw, a fellow that had more wit than virtue. Though justice required that he should be detected and exposed, yet his vices sit so fit in him that he is not at last suffered to starve.'
1 i. e. in losing her we lost a large portion of our esteem, which she possessed.
2 Completely, in its full extent.
3 The old copy reads blade. Theobald proposed the present reading.
Offence of mighty note; but to himself
Praising what is lost, Makes the remembrance dear. -Well, call him
I shall, my liege,
[Exit Gentleman. King. What says he to your daughter? have you
spoke!-Laf. All that he is hath reference to your highness. King. Then shall we have a match. I have let
ters sent me, That set him high in fame.
Enter BERTRAM. Laf.
He looks well on't. King. I am not a day of season, For thou mayst see a sun-shine and a hail
4 So in As You Like It:- to have seen much and to have nothing, is to have rich eyes and poor hands. Those who having seen the greatest number of fair women might be said to be the richest in ideas of beauty.
5 i. e. the first interview shall put an end to all recollection of
6 i. e. a seasonable day, a mixture of sunshine and hail, of winter and summer, is unseasonable.