William Shakespeare - William Shakespeare - Complete Collection (37 plays, 160 sonnets and 5 Poetry...)

Ros. I met the Duke yesterday, and had much question with him. He ask’d me of what parentage I was. I told him of as good as he, so he laugh’d and let me go. But what talk we of fathers, when there is such a man as Orlando?

Cel. O, that’s a brave man! he writes brave verses, speaks brave words, swears brave oaths, and breaks them bravely, quite traverse, athwart the heart of his lover, as a puisne tilter, that spurs his horse but on one side, breaks his staff like a noble goose. But all’s brave that youth mounts and folly guides. Who comes here?

Enter Corin.

Cor.

Mistress and master, you have oft inquired

After the shepherd that complain’d of love,

Who you saw sitting by me on the turf,

Praising the proud disdainful shepherdess

That was his mistress.

Cel.

Well; and what of him?

Cor.

If you will see a pageant truly play’d

Between the pale complexion of true love

And the red glow of scorn and proud disdain,

Go hence a little, and I shall conduct you,

If you will mark it.

Ros.

O, come, let us remove,

The sight of lovers feedeth those in love.

Bring us to this sight, and you shall say

I’ll prove a busy actor in their play.

Exeunt.

¶

Enter Silvius and Phebe.

Sil.

Sweet Phebe, do not scorn me, do not, Phebe;

Say that you love me not, but say not so

In bitterness. The common executioner,

Whose heart th’ accustom’d sight of death makes hard,

Falls not the axe upon the humbled neck

But first begs pardon. Will you sterner be

Than he that dies and lives by bloody drops?

Enter, [behind,] Rosalind, Celia, and Corin.

Phe.

I would not be thy executioner;

I fly thee for I would not injure thee.

Thou tell’st me there is murder in mine eye:

’Tis pretty, sure, and very probable,

That eyes, that are the frail’st and softest things,

Who shut their coward gates on atomies,

Should be called tyrants, butchers, murtherers!

Now I do frown on thee with all my heart,

And if mine eyes can wound, now let them kill thee.

Now counterfeit to swound; why, now fall down,

Or if thou canst not, O, for shame, for shame,

Lie not, to say mine eyes are murtherers!

Now show the wound mine eye hath made in thee;

Scratch thee but with a pin, and there remains

Some scar of it; lean upon a rush,

The cicatrice and capable impressure

Thy palm some moment keeps; but now mine eyes,

Which I have darted at thee, hurt thee not,

Nor I am sure there is no force in eyes

That can do hurt.

Sil.

O dear Phebe,

If ever (as that ever may be near)

You meet in some fresh cheek the power of fancy,

Then shall you know the wounds invisible

That love’s keen arrows make.

Phe.

But till that time

Come not thou near me; and when that time comes,

Afflict me with thy mocks, pity me not,

As till that time I shall not pity thee.

Ros. [Advancing.]

And why, I pray you? Who might be your mother,

That you insult, exult, and all at once,

Over the wretched? What though you have no beauty—

As, by my faith, I see no more in you

Than without candle may go dark to bed—

Must you be therefore proud and pitiless?

Why, what means this? why do you look on me?

I see no more in you than in the ordinary

Of nature’s sale-work. ’Od’s my little life,

I think she means to tangle my eyes too!

No, faith, proud mistress, hope not after it.

’Tis not your inky brows, your black silk hair,

Your bugle eyeballs, nor your cheek of cream

That can entame my spirits to your worship.

You foolish shepherd, wherefore do you follow her,

Like foggy south, puffing with wind and rain?

You are a thousand times a properer man

Than she a woman. ’Tis such fools as you

That makes the world full of ill-favor’d children.

’Tis not her glass, but you that flatters her,

And out of you she sees herself more proper

Than any of her lineaments can show her.

But, mistress, know yourself, down on your knees,

And thank heaven, fasting, for a good man’s love;

For I must tell you friendly in your ear,

Sell when you can, you are not for all markets.

Cry the man mercy, love him, take his offer;

Foul is most foul, being foul to be a scoffer.

So take her to thee, shepherd. Fare you well.

Phe.

Sweet youth, I pray you chide a year together,

I had rather hear you chide than this man woo.

Ros. He’s fall’n in love with your foulness—and she’ll fall in love with my anger. If it be so, as fast as she answers thee with frowning looks, I’ll sauce her with bitter words.—Why look you so upon me?

Phe. For no ill will I bear you.

Ros.

I pray you do not fall in love with me,

For I am falser than vows made in wine.

Besides, I like you not. If you will know my house,

’Tis at the tuft of olives here hard by.

Will you go, sister? Shepherd, ply her hard.

Come, sister. Shepherdess, look on him better,

And be not proud; though all the world could see,

None could be so abus’d in sight as he.

Come, to our flock.

Exit [with Celia and Corin].

Phe.

Dead shepherd, now I find thy saw of might,

“Who ever lov’d that lov’d not at first sight?”

Sil.

Sweet Phebe—

Phe.

Hah! what say’st thou, Silvius?

Sil.

Sweet Phebe, pity me.

Phe.

Why, I am sorry for thee, gentle Silvius.

Sil.

Where ever sorrow is, relief would be.

If you do sorrow at my grief in love,

By giving love, your sorrow and my grief

Were both extermin’d.

Phe.

Thou hast my love; is not that neighborly?

Sil.

I would have you.

Phe.

Why, that were covetousness.

Silvius, the time was that I hated thee;

And yet it is not that I bear thee love,

But since that thou canst talk of love so well,

Thy company, which erst was irksome to me,

I will endure; and I’ll employ thee too.

But do not look for further recompense

Than thine own gladness that thou art employ’d.

Sil.

So holy and so perfect is my love,

And I in such a poverty of grace,

That I shall think it a most plenteous crop

To glean the broken ears after the man

That the main harvest reaps. Loose now and then

A scatt’red smile, and that I’ll live upon.

Phe.

Know’st thou the youth that spoke to me yerwhile?

Sil.

Not very well, but I have met him oft,

And he hath bought the cottage and the bounds

That the old carlot once was master of.

Phe.

Think not I love him, though I ask for him;

’Tis but a peevish boy—yet he talks well—

But what care I for words? Yet words do well

When he that speaks them pleases those that hear.

It is a pretty youth—not very pretty—

But sure he’s proud—and yet his pride becomes him.

He’ll make a proper man. The best thing in him

Is his complexion; and faster than his tongue

Did make offense, his eye did heal it up.

He is not very tall—yet for his years he’s tall;

His leg is but so so—and yet ’tis well;

There was a pretty redness in his lip,

A little riper and more lusty red