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Cor. For not being at court? Your reason.
Touch. Why, if thou never wast at court, thou never saw'st good manners ; if thou never saw'st good manners, then thy manners must be wicked ; and wickedness is sin, and sin is damnation: Thou art in a parlous state, shepherd.
Cor. Not a whit, Touchstone: those, that are good manners at the court, are as ridiculous in the country, as the behaviour of the country is most mockable at the court. You told me, you salute not at the court, but you kiss your hands ; that courtesy would be uncleanly, if courtiers were shepherds.
Touch. Instance, briefly , come, instance.
COR. Why, we are still handling our ewes; and their fells, you know, are greasy.
Touch. Why, do not your courtier's hands sweat? and is not the grease of a mutton as wholesome as the sweat of a man? Shallow, shallow : A better instance, I say; come.
CoR. Besides, our hands are hard.
Touch. Your lips will feel them the sooner. Shallow, again: A more founder instance, come.
be damn'd all on one side; but will not sufficiently show how Touchitone applies his fimile with propriety; unless he means that he who has not been at court is but half educated. Steevens.
I believe there was nothing intended in the corresponding part of the fimile, to answer to the words, “ all on one side." Shakspeare's fimiles (as has been already observed) hardly ever run on four feet. Touchstone, I apprehend, only means to fay, that Corin is completely damned; as irretrievably destroyed as an egg that is utterly spoiled in the roasting, by being done all on one fide only. So, in a subsequent scene, “ and both in a tune, like two gyplies on a horse.” Here the poet certainly meant that the speaker and his companion should sing in unison, and thus resemble each other as perfectly as two gypsies on a horse;- not that two gypsies on a horse sing both in a tune. . MALONE.
COR. And they are often tarr'd over with the surgery of our sheep; And would you have us kiss tar? The courtier's hands are perfumed with civet.
Touch. Most shallow man! Thou worms-meat, in respect of a good piece of flesh: Indeed !-Learn of the wise, and perpend: Civet is of a baser birth than tar; the very uncleanly flux of a cat. Mend the instance, shepherd.
Cor. You have too courtly a wit for me; I'll reft.
Touch. Wilt thou rest damn'd? God help thee, shallow man! God make incision in thee! 8 thou art raw.'
8 make incision in thee!] To make incision was a proverbial expression then in vogue for, to make to underítand. So, in Beaumont and Fletcher's Humorous Lieutenant:
" — O excellent king,
“ And so proceeds to incision" ,
WARBURTON. Till I read Dr. Warburton's note, I thought the allusion had been to that common expression, of cutting such a one for the simples; and I must own, after consulting the passage in the Humorous Lieutenant, I have no reason to alter my supposition. The editors of Beaumont and Fletcher declare the phrase to be unintelligible in that as well as in another play where it is introduced. I find the same expreifion in Monsieur Thomas: “ We'll bear the burthen : proceed to incision, fidler."
STEEVENS, I believe that Steevens has explained this passage juftly, and am certain that Warburton has entirely mistaken the meaning of that which he has quoted from The Ilumourous Lieutenant, which plainly alludes to the practice of the young gallants of the time, who used to cut themselves in such a manner as to make their blood flow, in order to thow their passion for their mistresses, by drinking their healths, or writing verses to them in blood. For a more full explanation of this custom, fie a note on Lorie's Labour's Lost, Ait IV. sc. iji: M. Mason.
9 -- thou art, raw.] i. e. thou art ignorant; unexperienced, Cor. Sir, I am a true labourer ; I earn that I eat, get that I wear; owe no man hate, envy no man's happiness; glad of other men's good, content with my harm: and the greatest of my pride is, to see my ewes graze, and my lambs suck.
Touch. That is another simple fin in you ; to bring the ewes and the rams together, and to offer to get your living by the copulation of cattle: to be bawd to a bell-wether;. and to betray a she-lamb of a twelvemonth, to a crooked-pated, old, cuckoldly ram, out of all reasonable match. If thou be’it not damn'd for this, the devil himself will have no shepherds; I cannot see else how thou shouldit 'scape.
Cor. Here comes young master Ganymede, my new mistress's brother.
Enter RosALIND, reading a paper.
From the east to western Ind,
So, in Hamlet: "--and yet but raw neither, in respect of his quick sail.” MALONE.
bawd to a bell-wether;] Wether and ram had anciently the same meaning. Johnson.
3 faireA lind,] i. e. moft fairly delineated. Modern editors read-limn'd, but without authority, from the ancient copies.
STEEVENS. 4 But the fair of Rosalind.] Thus the old copy. Fair is beauty, complexion. See the notes on a passage in The Midsummer Night's Dream, Act I. sc. i. and The Comedy of Errors, Act II. sc. i. The
Touch. I'll rhime you so, eight years together; dinners, and suppers, and neeping hours excepted: it is the right butter-woman's rate to market.
Ros. Out, fool !
If a bart do lack a hind,
modern editors read the face of Rosalind. Lodge's Novel will likewise support the ancient reading:
“ Then muse not, nymphes, though I bemone
“ Since for her faire there is fairer none,” &c. Again,
“ And hers the faire which all men do respect.” Steevens. Face was introduced by Mr. Pope. Malone.
4- rate to market.] So, Sir T. Hanmer. In the former cditions—rank to market. JOHNSON.
Dr. Grey, as plausibly, proposes to read_rant. Gyll brawled like a butter-whore, is a line in an ancient medley. The sense designed, however, might have been—" it is such wretched rhime as the butter-woman sings as she is riding to market.” So, in Churchyard's Charge, 1580, p. 73
in And use a kinde of ridynge rime" Ratt-ryme, however, in Scotch, signifies some verse repeated by rote. See Ruddiman's Glossary to G. Douglas's Virgil. Steevens.
The Clown is here speaking in reference to the ambling pace of the metre, which, after giving a specimen of, to prove his assertion, he affirms to be " the very false gallop of verses."
HENLEY. I am now persuaded that Sir T. Hanmer's emendation is right. The bobbling metre of these verses, (says Touchstone,) is like the ambling, jouffling pace of a butter-woman's horse, going to market. The same kind of imagery is found in K. Henry IV. P.I:
“ And that would set my teeth nothing on edge,
“ 'Tis like the forc'd gait of a shuffling nag," MALONE. Vol. VI.
Winter-garments must be lin'd,
Muft find love's prick, and Rosalind. This is the very false gallop of verses;s Why do you infect yourself with them?
Ros. Peace, you dull fool; I found them on a tree. Touch. Truly, the tree yields bad fruit.
Ros. I'll graff it with you, and then I shall graff it with a medlar: then it will be the earliest fruit in the country; for you'll be rotten ere you be half ripe, and that's the right virtue of the medlar.
Touch. You have said; but whether wisely or no, let the forest judge.
Enter Celia, reading a paper.
For it is unpeopled? No;
3 This is the very false gallop of verses;] So, in Nashe's Apologie of Pierce Pennilefje, 4to. 1593: “ I would trot a false gallop through the rest of his ragged verses, but that if I should retort the rime doggrell aright, I must make my verses (as he doth his) run bobbling, like a brewer's cart upon the stones, and observe no measure in their feet.” MALONE.
o the earliest fruit - Shakspeare seems to have had little knowledge in gardening. The medlar is one of the latest fruits, being uncatable till the end of November. Steevens. 7 Why should this defert silent bes] This is commonly printed :
Why Jhould this a defert be?